The Key To Rebecca 1985.torrent
In The Key To Rebecca, the effects of the structure of the film are determined by the fact that it is broadcast during „winter“ (the second part of the double release). Two things relate this to its use in this project. First, the snow has a special meaning for the radical cinema. Second, the exhibition of the film implies the use of winter as a frame. By filming in winter and broadcasting it in winter, it makes the snow and the cold materialize on screen as a strong visual and aural presence. There is something uncanny in the way the spectator is combined with the image. It’s a non-specific, time-free image, pure formal activity without explicitly expressing any content other than itself.
In her review in Cinematography (1/85), Maggie Estep describes The Key To Rebecca as a stream-of-consciousness film, a self-reflexive, reflexive film. The piece combines what Estep calls a somewhat realistic silent performance with the surrealistic elements derived from the feature film. Partly because of this, The Key To Rebecca rarely allows the viewer to take the projectors in for a close look at them, and it has a curious, impersonal quality. The title of the piece may not be formally plausible, but it seems to establish a direct analogy between the views witnessed in the piece and the images projected on the screen. However, nothing is seen in the film that indicates which direction the flood is flowing. Because the film is not based on documentary, there is no point of view for the spectator to occupy.
Yen Banh included The Key To Rebecca as part of his 1985 Passage Into Darkness project at the Cinema Museum, Luxembourg. The work consisted of a number of short films, which Banh showed in a fashion-conscious space, made up of various tableaux of electronic media, all featuring a droll soundtrack and pauses for the viewer to respond. In Banh’s view, such a move towards the contemporary is all about the viewers participation, „moving towards the artistic process, the spectators image of the world“. In Banh’s view, The Key To Rebecca and his other short film, Public Apparatus, were two films that took viewers eye or focus off themselves, and onto the people or image that had been cast on the screen. This was not unlike how, Banh suggests, we are currently using our photography.