| |
Today,
when one goes on a journey, the travel is ritualized through the visual
machine. The image, coming alive in time as it frames time, is there where
the actual and virtual meet. In the process of ritualizing Japan's "hundred
flowers," it is the encounter between self and other, human and machine,
viewer and image, fact and fancy that determines the field of relations
in which new interactions between past and present are made possible. Shown
in their widespread functions and manifestations, including more evident
loci such as festival, religious rite and theatrical performance, "rituals"
involve not only the regularity in the structure of everyday life, but also
the dynamic agents in the ongoing process of creating digital images at
the speed of light. |
| |
|
| |
"Striking
visual compositions and juxtapositions and a stunning soundtrack. As we
watch and listen to this provocative and meditative piece, we, too, become
'attentive to the infraordinary - an intrusion of eternity.'" |
| |
|
-
I. Leimbacher, The San Francisco Cinematheque |
| |
"Her
tack finds great visual pleasure in the everday, composing and decomposing
the social landscape, while construction a poetic grid of temporalities,
symbolic meanings, and rituals. Trinh's lyrical narration guides us through
'Japan's likeness,' the perfected framing of the sacramental familiar." |
| |
|
-
S. Seid, Pacific Film Archive |
| |
"[The
Fourth Dimension] functions as a recurrent melody, appealing to all
the senses." |
| |
|
-
Locarno Film Festival |
| |
|
|
