Sunday 25 August 2013

One Screen Distortion Makes You L-A-R-G-E-R [*Corpus Callosum (2002)]

From http://img134.imageshack.us/img134/1255/corp1cd7.jpg

Dir. Michael Snow

One of the first avant garde films I saw was Michael Snow's legendary Wavelength (1967). Depending on your opinion, it is a) an examination of space and time in a single forty or so camera zoom, or b) forty or so minutes of staring at a wall. I hated it, and it didn't help that, since Snow's work is not officially released outside of cinema screenings, that it was a murky and digitally blurred version. I want to rewatch it, more so if I could see a good 35mm print on a big screen in my dreams. The films of the Canadian avant garde filmmaker/jazz musician have now become of immense interest for me, thanks to my growing flexibility with unconventional and experimental cinema. It also helped that I have discovered Michael Snow has a sense of humour. So Is This (1983) has you read a film as a text, complete black screen with sentences, one word at a time, being shown. Its already a brilliant work but gets better when I discovered this secret behind Snow. It also admits how most people would react with it with a self reflecting sense of humour, and takes pot shots at Canadian film censors with additional subliminal swear words. This discovery may make Snow even more accessible now, as a normal man who is willing to use humour within his experimental works to emphasise the points made, and *Corpus Callosum is such a film.

From http://www.jonathanrosenbaum.com/wp-content/uploads/2010/12/corpus-callosum_michael_snow.jpg

*Corpus Callosum is a ninety minute series of absurd moments. Most of it consists of people in a Toronto office stuck in dead end work, with tangents including an extended one of a family in a gaudy, pop art decorated living room. Using what he could afford, or intentionally using cheap looking computer effects for a cartoonish feel, Snow distorts both what is in these scenes and the film itself. People contort or become one single rectangular entity. Some, using distinct same clothes on different actors, are duplicated and interact with their mirrors. People abruptly disappear, expand or have any conceivable body part expand to absurd proportions. The rooms and objects in them do this too, the sequences in the gaudy living room having a wall of props move, disappear and even explode on cue, while the image the viewer sees are manipulated too. Continually moving to the right when the camera does move, the filmed image is bent as well with one sequence literally turning the world upside down.

From http://deeperintomovies.net/journal/image10/corpuscallosum2.jpg

The result is playful. Knowing absurd in how it causes you to keep an eye on what will be effected. Objects, people, environment, even colour is effected and manipulated in the film. It's an experiment in image and content, but it comes off as bizarre segments which go out of their way to distort everything into peculiar shapes and types, the very rudimentary nature of some of the effects actually adding to the idea. If it wasn't for a lack of a narrative, the already thin wall between avant garde cinema, absurdist comedy and cult cinema would be pierced by a film like this. A film like this undermines the division between the sides by using "weird" images and comedic skits to their own effect in showing the manipulation of the image too. *Corpus Callosum is all the moments of breaking expectations and what is expected in conventional cinema stripped of a narrative, put together as a full ninety minute compilation. It's very much an avant garde film, minimal at times with prolonged moments of nothing happening as you wait for what's next and get absorbed by the droning mood of the work. But it still plays with the exact type of bizarre image manipulations that take place in something like Nobuhiko Obayashi's Hausu (1977). It even shows some vulgar humour with a truly giant member, coming off as a sexual fantasy cut short by the work office bell.

From http://www.jonathanrosenbaum.com/wp-content/uploads/2012/08/corpuscallosum-home.gif

The settings in the film are Snow poking fun at real life drudgery. We don't know what the office workers do around their computer desks, and for all we know they aren't doing anything adding to the joke, but seeing them at times be as bendable as taffy and in strange manipulations is liberating, the recesses of the mind's imagination having fun with bending reality. The living room sequences are traditional family life - pop art crossed with a sitcom set - put through the same bendings. The other sequence, at first out of place but finally making sense, is a God's eye view of a class of school kids during an exam, only for them to all notice us, the camera eye, and deal with it. By physically manipulating their own surroundings, the kids are the only individuals in control of their world in a reality where the adults are manipulated themselves. It's also seen as an auto-retrospective of Snow's work. Having not seen a lot of his films, it's difficult for me to comment on this, but I can comment on one of the final sequences, where characters watch one of Snow's own films from the fifties in a cinema screening room, the director weaving together his life into a self reflection. It evokes Lisandro Alonso's Fantasma (2006), set in a cinema complex where, as we follow a man in a minimalist journey around the rooms, he eventually goes see one of Alonso's own films. Like it, *Corpus Callosum becomes a theatre-within-a-theatre by doing this, seeing Snow's own mind within a creation of his, best amplified by the beginning showing the camera zoom into the security camera screen and view the doorway it will eventually go through within a reflection of the reality. Everything after this is understandably, because of this potential symbolism, possible because it sets up having its own set of rules. So far as to even have its own end credits, in a ninety minute film, at fifty to sixty minutes into itself, catching this viewer off and furthering the breaking of convention for a joke.

From http://deeperintomovies.net/journal/image10/corpuscallosum4.jpg

Considering the exclusive nature that dangerous coats this sort of cinema - difficult to see, acclaimed by privilege film critics at festivals that could be argued to be elitist - this is only "difficult" in that avant garde cinema requires some patience and a willingness to follow it by its own rules before making a judgement on it. The distinction that understandably causes a lot of people to badly react to this sort of cinema is in most cases likely a surprise at having to try to view something which plays with a different tone, this film at times liable to be frustrating to even those who love it. But this is why "experiment" is the perfect word for this cinema to use, in that breaking from conventions of cinema on purpose, the reaction it causes can be anything. Even with the same minutes of the film, the experiment can cause two or more different emotional reactions. But like genre and cult films, this one presents its rule breaking by the use of comedy, absurdity, and in one moment, eroticism grossly exaggerated, the same playfulness that with a vulgar sense of the strange it has no shame is using.

From http://www.news.wisc.edu/newsphotos/images/Wfilmfest03_Corpus_Callosum.jpg


Its lack of availability is a shame, for by being only available in cinema showings at art museums and specialist film theatres, it becomes an elitist product against the tone and purpose of the film, Snow disconnecting perceived expectations from an art film in favour of making the dumbfounding and silly the examples of reality being questioned. The punchlines are the examples given to his discussions of the form of image, sound and framing, and you are allowed to laugh and think about them together at the same time. Not the presentation you think of when you think of experimental films you can only see rarely at museums, and frankly even those films are unfairly ostracised into being education rather than ventures into experimentation a viewer should be able to enjoy just for disrupting images and sounds in new ones. *Corpus Callosum emphasises for me that it is possible for avant garde cinema can be just as rewarding in terms of creating new, enticing images and sounds as well as provoking deep questions, that they are possible to actually enjoy for creating said new images and sounds like an optical illusion or an  absurd gag do when they manipulate the same things. The film never feels serious as what is stereotyped for an experimental film to be, undermining the notion by being legitimately hilarious in its intentional moments of weirdness. Viewing it, the idea that experimental film is seen as only education, filmic vegetables to the meat of entertainment cinema, is baffling when it gets as much glee from a penis gag as well as with its structuralist presentation. In many ways, the broadening of my palette for this type of cinema is because, like finding that Snow had a sense of humour, I found these films weren't just educating my eyes and brain, but could be as entertaining a blockbuster, silly like a comedy, titillating like porn, frightening like horror films, kinetic like action cinema or animation, and that they could be as much inclined to the basic delights of entertaining you through their subversions as well as using the formalist camera zooms and minimalist soundtracks to force you to question the meaning of the visual and audible.  This is where *Corpus Callosum gains its greatest virtues from, and this is how someone should enter the film through. That if it has a very intellectual message behind it, you should not try to drag it out viewing it but find entertainment through the base pleasures of stuffed foxes exploding and a man literally being given birth to through dodgy CGI, and realising the intellectual meat of the film will come when you enjoy these absurd pleasures first and then think about them. And considering how bizarre those images sound even in a review, it's impossible to consider the film on just cerebral levels as, using the area between the two hemispheres of the brain as its title, it has the same purpose as that area of brain matter in having two different sides, the creative and logical, the serious and the absurd, have an interconnecting conversation with each other with the film.

From http://deeperintomovies.net/journal/image10/corpuscallosum6.jpg

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