Ozymandias

2006, 3.20 mins, colour, stereo, DV

“Nothing beside remains”. An accelerated shuffle through cinematic ends. The film’s title refers to Shelley’s compressed sonnet on the shattered colossus of tyrant Ramesses IIOzymandias deploys a database of movie cue-dots collected from free digital-TV broadcasts.  This archive time signals provides an archaeological resource to remember cinema’s outgoing physicality, and a method of enquiry into narrative and perceptual processes.

“Ozymandias pushes the dot even further upstage, sampling only the four marked frames, and splicing them together into a pulsating, celebratory spotted dance routine. Beneath the dot, glimpses survive of top-corner movie-action: hats, and hair-do’s, curtains and lampshades: an inventory of life’s peripherals. Imagine a commemorative stamp; there’s that rectangular snatch of an image, and a cue-dot floating above instead of the Queen’s head. Judith Palmer, Revolve, October 2006

… focalizes filmic articulation via the references for reel changes imprinted on the physical film, and fetishizes the characteristics of genre films“. RIPBM, November 2007