At the same time she sets off with a certain daring on a discursive search for appropriate criteria with which to put these carnivalesque
and exuberant images in order and simultaneously give the film a structure. Self-reflectively and ironically the commentary and the synchronised edited
images run through all kinds of category from external factors (chronology of the takes) via thematic terms (cultural geography) to questions of form
(colour, the relationship of light and shadow, film sound) not to mention “self-explanatory categories” (a Finn dressed as Santa Claus). |
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Finally this self-analysis leads to permanent (self-critical) digression in which every ‘framing’ of the foreigners is continued
ad absurdum. At the same time a broad, differentiated spectrum of forms (dance, movements, clothing, masks etc.) spreads through this continuous slipping
and sliding of categories, a consistent ‘spectralisation’ that makes the phantom neither more graspable nor more compliant.
Christian Höller, 2003 |
