Hazart

Cinematic Exposure, Scene One was curated by international film maker Rajko Grlic`. 11 images were chosen for this exhibit. They are long exposures from 35 feature films. Each photograph is an iconic scene or sequence from a film ranging from short clips to large sections of their favorite films. These abstract images are created by using long exposures. The result is impressionist; an abstract that exposes the mood and rhythm of what was performed.


hazart – Profile

Have you ever asked yourself: how to recall the film you were once entirely in love with? As a great theme, as a story full of powerful characters, as a smart film with the brilliant dialog? Or do you remember that film for the face of that beautiful woman, a fantastic score or a cold blue dawn?

And then, if you find that answer you can ask yourself a second, quite different question: what remains in your emotional memory of that movie?

Because remembering the film, and keeping the film in your emotional memory are two very different experiences. In the first one Google can help you and provide all the needed information. In the second instance, it’s very personal, only you can help yourself.

From the films I loved I’m keeping some images, usually no more than a few frames. Those frames are carefully stored in my personal film library and if I want to recall some film I’ll take them out and send them to a different, less emotional part of my brain. Very often they arrive as frames that have lost sharpness and color, sometimes they’re now double or triple exposed. In whatever shape they arrive in, I can recognize them easily because for me they are the pure essence of that film.

When I first saw the “Cinematic Exposure – Scene One” photo series I was surprised how similar it is to those images I have stored in my emotional memory. Especially the one titled “Was Free” and distilled from “Twelve Years a Slave”, a fascinating film based on a true pre-Civil War story of a free black man who was abducted and sold into slavery.

This almost black and white image with hardly recognizable characters keeps all the pain that I filed watching that film, all the pain I took out of the theatre that night and all the pain I stored in my library under the title of that strong film.

So, to close this short intro, I ask you to do the same: to look at these images and give them a chance to talk to you, to allow them to recall your emotional memory of the films you used to love.

Yours truly,

Rajko Grlic
Film Maker, Director