Saturday, April 23, 2011

Facial Reconstruction

Integral to any art that has its central concern the 'visual' or a thing we may 'see' - is the outline. The outline is the slight suggestion of what is contained within it; as such, this property of it manifests most potently in the silhouette. The human face is one of the most easily recognisable shapes, second perhaps, only to the human body on which it is resident. The central policy behind 'body horror' or any such engagement of the 'grotesque' is the disturbance of this easy identification - a sudden transformation in the shape of the outline, or even worse, in its contents.

Some faces, below,

I was a soldier (1970)/ Krystof Kieslowski

Irma Vep (1996)/ Olivier Assayas

Altered States (1980)/ Ken Russell

Pratidwandi (1972)/ Satyajit Ray

Pratidwandi (1972)/ Satyajit Ray

Bigger Than Life (1956)/ Nicholas Ray

Hara-Kiri (1962)/ Masaki Kobayashi

Onibaba (1964)/ Kaneto Shindo

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