Bill Nichols explains in his description of the poetic mode that it "has many facets, but they all emphasize the ways in which the filmmaker's voice gives fragments of the historical world a formal, aesthetic integrity peculiar to the film itself." The poetic mode does indeed have many facets such as an emphasis on rhythm, texture, the disregard of spatial and temporal realities, and the desire to explore the world with a new perspective. But perhaps of all these facets, the potential for historical reality to be used for subjective repurposing caught my interest the strongest. Though other modes use historical fragments of the world to make arguments or drive home messages, the poetic mode is uninterested in delivering a single interpretation of the historical data. It is interested in exploring new perspectives and embracing ambiguity that comes with encountering fresh information.
This short piece is designed around the idea that fragments of the historical world can be manipulated and rearranged for the purpose of expressing ideas and emotions. Similar to words in a poem, images may be used like syllables, creating rhythms and evoking the senses. My film intends to promote a charitable consideration of a wasp, the unexpected guest. Informed by Stan Brakhage's Moth Light, I present the viewer with a new perspective in which to view the world. This perspective includes my own lens, as well as that of the yellow jacket, though perhaps very mildly. The perspective is a hybrid, one born out of fighting the impulse to kill the small intruder and to simply experience the occurrence.
Moth Light beautifully affords the viewer a completely open ended experience. Likewise, my film hopes to present a subjective interpretation of a historical reality. It focusses on movement and stillness, textures and light.
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