Deimantas Narkevičius, The Role of a Lifetime, 2003
Digital Film video (4:3)
Color, Sound, English spoken
Duration 16 min 49 s.
Edition 5 (+ 2 A.P.)
Based on interviews with British film-maker Peter Watkins, recorded in Lithuania where he lived for years in the course of his exile from Britain. Construction of the film unites some disparate components, relating sound and image to produce a strangely compelling play between Watkins’ commentary and the imagery. Watkins and Narkeviπius share a profound skepticism in relation to images that promise to be authentic representations of history. Independently of each other they have produced films with similar concerns: dismantling the conventional visual rhetoric of historic testimony and searching for a cinematic language that doesn’t subject the history to the forces of ideological assimilation or mass media commodification.
Deimantas Narkevičius, The Role of a Lifetime, 2003
Digital Film video (4:3)
Color, Sound, English spoken
Duration 16 min 49 s.
Edition 5 (+ 2 A.P.)
Based on interviews with British film-maker Peter Watkins, recorded in Lithuania where he lived for years in the course of his exile from Britain. Construction of the film unites some disparate components, relating sound and image to produce a strangely compelling play between Watkins’ commentary and the imagery. Watkins and Narkeviπius share a profound skepticism in relation to images that promise to be authentic representations of history. Independently of each other they have produced films with similar concerns: dismantling the conventional visual rhetoric of historic testimony and searching for a cinematic language that doesn’t subject the history to the forces of ideological assimilation or mass media commodification.
Deimantas Narkevičius, The Role of a Lifetime, 2003
Digital Film video (4:3)
Color, Sound, English spoken
Duration 16 min 49 s.
Edition 5 (+ 2 A.P.)
Based on interviews with British film-maker Peter Watkins, recorded in Lithuania where he lived for years in the course of his exile from Britain. Construction of the film unites some disparate components, relating sound and image to produce a strangely compelling play between Watkins’ commentary and the imagery. Watkins and Narkeviπius share a profound skepticism in relation to images that promise to be authentic representations of history. Independently of each other they have produced films with similar concerns: dismantling the conventional visual rhetoric of historic testimony and searching for a cinematic language that doesn’t subject the history to the forces of ideological assimilation or mass media commodification.
Deimantas Narkevičius, The Role of a Lifetime, 2003
Digital Film video (4:3)
Color, Sound, English spoken
Duration 16 min 49 s.
Edition 5 (+ 2 A.P.)
Based on interviews with British film-maker Peter Watkins, recorded in Lithuania where he lived for years in the course of his exile from Britain. Construction of the film unites some disparate components, relating sound and image to produce a strangely compelling play between Watkins’ commentary and the imagery. Watkins and Narkeviπius share a profound skepticism in relation to images that promise to be authentic representations of history. Independently of each other they have produced films with similar concerns: dismantling the conventional visual rhetoric of historic testimony and searching for a cinematic language that doesn’t subject the history to the forces of ideological assimilation or mass media commodification.
Deimantas Narkevičius, The Role of a Lifetime, 2003
Digital Film video (4:3)
Color, Sound, English spoken
Duration 16 min 49 s.
Edition 5 (+ 2 A.P.)
Based on interviews with British film-maker Peter Watkins, recorded in Lithuania where he lived for years in the course of his exile from Britain. Construction of the film unites some disparate components, relating sound and image to produce a strangely compelling play between Watkins’ commentary and the imagery. Watkins and Narkeviπius share a profound skepticism in relation to images that promise to be authentic representations of history. Independently of each other they have produced films with similar concerns: dismantling the conventional visual rhetoric of historic testimony and searching for a cinematic language that doesn’t subject the history to the forces of ideological assimilation or mass media commodification.