“Let it be the feelings that bring about the events. Not the other way.”—Robert Bresson, Notes on the CinematographThe work of experimental filmmaker and visual artist Christopher Harris generates bounties from the historical and cultural vestiges of the African-American experience. Consider his 2004 short film, Reckless Eyeballing, an amalgam of black and white images and footage chopped and screwed to the sound of ominous, Hitchcockian violin crescendos. Glimpses of Pam Grier and Angela Davis and scenes from D.W. Griffith’s The Birth of a Nation collide, evoking a pop culture iconography that draws Black women as illicit, dangerous objects of desire, while the title makes reference to Jim Crow-era vernacular of Black men looking at white women with presumably lusty intent. Halimuhfack (2016), one of Harris’ most recent shorts, similarly achieves a provocative density of signification in its critique of anthropological documentation. A performer who assumes the posture of an interview...
- 3/26/2020
- MUBI
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