Double Vision, Sophie Lynford, 2006: A Reinterpretation of Peter Campus's Double Vision, 1971
Peter Campus's 1971 film, Double Vision, was influential in its exploration of overlapping images moving through time. Campus's use of two cameras literally creates the "double vision" after which his film is named. Campus employs this double vision to examine one's awareness of oneself and one's spatial and temporal consciousness. In my reinterpretation of the same name, I am striving to investigate a similar awareness. I believe "double vision" does not have to be interpreted literally to mean two separate images, but instead can be interpreted to refer to two different viewpoints people might have on life.
Both Campus and I explore the nature of perception in our films and demonstrate that the way people perceive something is not totally a function of pure unadulterated thought but it is also what enters their field of observation. My decision to only use one camera highlights the overlapping existences between my roommate, Rachel, and me. The choice to keep the camera stationary with individuals moving in and out of the frame emphasizes our shared space. While much of our days are spent individually outside of our room, the time inside is characterized by our interaction. During the middle of filming, other dorm mates spontaneously came in to dance. This is the type of spontaneous physical action that enters into the field of our perception and alters what we are thinking about at that moment. Campus was exploring the nature of consciousness and perception and I am doing the same. Campus's method of shifting the standpoint in which the viewer witnesses an identical image challenges our familiarity with observing the world from one angle. I approach this issue differently by setting up a single camera that cannot move but records the human adventure that comes into its focus. Forcing the viewer to watch all the action in the room from one specific angle tests the viewer's attention span and disrupts the comfort we experience when we can manipulate the situation.
Influenced by Campus's overlapping images, I chose to overlie different segments of Rachel's and my day, sometimes when we are both in the room and sometimes when we are alone. The varying images and times of day juxtaposed against the same motionless background stresses that just because our space is finite does not mean our daily routine is as limited. Both Campus and I employ ideas of focus and allow the camera to be the privileged observer of consciousness just like a human being is a field on which certain images register. We both use the camera to capture and record the sensations that influence how we think and how we feel although we select very different images to come to a similar conclusion.
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View Double Vision: http://ubu.wfmu.org/video/Campus-Peter_Double_Vision_1971.mp4