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Cine-Clube de Avanca, 2015, Avanca, Portugal.

25 July 2015

Avanca | Cinema 2015
Conferência Internacional Cinema - Arte, Tecnologia, Comunicação
Cine-Clube de Avanca, 2015, Avanca, Portugal.

Judy Goldhill’s photograph is a complex composition of vibrant colours and manifold planes and surfaces. Running horizontally the full width of the scene are bands of colour, from the top to lower edges are the azure of the sky, a deeper blue of the sea, black of seating/cushions and a brilliant red of a table. A young and an older woman sit together but separate, each at the centre of two equal halves of the frame. Two white furled awnings, one behind each, accentuate the couple’s ambiguous relationship, the title All About Eve? All About My Mother, confirms this implicit drama in the situation. The artist writes


I have restaged my mother’s favourite film, All About Eve, with my youngest daughter and mother, so as to create some effectual tension between them. Taking the film's theme where an apparent ingénue insinuates herself into the company of an established, but ageing actress I have re-imagined the film’s narrative.


The print’s title also succinctly encapsulates the influences and the interaction of the experience of cinema and of the personal. The work conveys not the re-enactment of a specific scene but that of an ambience, of a resonance, it is the staging of the affinities and antagonisms between fiction and life, and across generations. Gilles Deleuze writes of Joseph Mankiewicz’s use of flashbacks, flashbacks that do not support a linear causal progression but are as forking paths. These are the subjective moments of different characters; in All About Eve, they show acts of deception, of a false story told, these have witnesses but are only revealed later. “We make memory in the present in order to make use of it in the future when the present will be past” (Deleuze, 2013 53)* - they are not reports of the past but are memory as a function of the future.

John McDowall


*Deleuze, Gilles. 2013. Cinema 2: The Time-Image. Translated by Hugh Tomlinson and Robert Galeta. London/New York: Bloomsbury. 53.