Close Up

28 October 2017: Between the Gaze

perfect-human-jorgen-leth.jpg

Cinema takes photography's fetishistic characteristics and expands the voyeuristic nature of the medium. The resulting objectification is examined through these works, but the gaze itself is also the subject of the lens.

An Image
Harun Farocki
1983 | 25 min | Colour | Digital

"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium.

This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." – Harun Farocki

The Perfect Human
Jørgen Leth
1967 | 13 min | B/W | Digital

Like Life in Denmark, Good and Evil, and Notes on Love, sensible anthropological study is apparently on the programme, and in Leth's award-winning breakthrough it assumes an elegant, highly amusing form. Spanning a period of 22 years these films revolve skittishly around human nature, and apart from the more documentary Life in Denmark, each has actor Claus Nissen as Leth's artful alter ego. Nissen and Maiken Algren are in an empty white room with only the essential props for each scene. A bed, bedding, a table, chairs. "We are going to see the perfect human being in action", we hear, and Leth's voice puts descriptive or puzzled words to the little actions the film exhibits: the man touches his face investigatively, fills a pipe, cuts his nails, and gets undressed, but he does peculiar things, too: he jumps as if he is weightless, snaps his fingers in strange ways, and dances with exaggerated movements and no music. "Today, too, I had an experience that I hope I shall understand in a few days' time", he ponders. The whole film is staged with great clarity in its picture compositions with several characteristic zooms to indicate the bodily parts of the perfect human being, and emphasis on the light, boundless nothingness of the room.


Part of pic.london festival 2017