The Hart of London (1970), de Jack Chambers.
(...)When making Hart of London, Chambers was probably convinced that the illusory nature ofthe photograph is its primary attribute, that a photograph - like memory - triumphs over time only by rendering its model unreal. We surround ourselves with images to hang on to what we love, but in doing so we accumulate only the ghostly traces of a bygone world.
The theme of the destruction of natural beauty that occurs when things of beauty are turned into art objects is reworked in the scenes of women picking flowers to wear boutonnières. The following scenes, of birds trapped in their cages like the spirit in the flesh, like the real in the illusory, like the transient objects of nature in the eternal time of the photograph, offer additional articulations of the same concept. The fundamental destructiveness of human beings, nature and the process of making art (and perhaps even of the process of forming memories) is seggested by the following images of corpses lying in rows.
Hart of London is a film concerned with the activity of creation and with the processs by which identity is constituted. It establishes that the means by which a person's identity is forged has its roots in imagery, in images of self, of nature and of community, or, more precisely, of self-and-community-and-nature, for it shows that self, community and nature are indissolubly linked. But it is, in addition, a film based on a profound understanding of various types of mental imagery and their natures. The film's interest in memory arises from Chambers' concern with the stable image upon which a stable sense of identity is grounded.
Image and Identity: Reflections on Canadian Film and Culture, por Bruce Elder.
Tudo a propósito de uma retrospectiva integral da obra de Jack Chambers pela Revista Lumière, que não pode passar despercebida (ambas, retrospectiva e revista), em parceria com o Crater-Lab, ali.