Can we produce image-sound sequences without a certain subject? Particularly, can we produce an image-sound sequence devoid from an emotional perspective, avoiding synchronized audience reception? Can we do this while using the surrounding environment of our own daily life practices as raw video clips, without sensationalizing them, and by assembling them away from predictable mainstream film structures? Can we edit them without dramatizing the sequences, using available digital applications and software, and without fearing contemporary video-form classifications?
The act of watching or daydreaming is at a crossroads with what you see. Mental images you produce are like fingerprints: unique and forgettable. Sometimes you do not even realize that you produce mental images since it is impossible for you to account for your presence in this world, despite the fact that you ‘exist,’ because we are addicted to a life of habitude. Any image emptied of meaning is then consumed only for the act of eating, boredom and fear of life. It is engaged in any kind of module, and we consume it without thinking.
The function of storytelling
Storytelling forms are linked to the understanding of story structures. Including the methodologies of storytelling, story themes, in general, come from essential human specialties, senses such as hearing, the limits of vision, other ways of sensing and calculating individual and collective frames, and emotions such as fear, love, etc.
Storytelling functions by instigating impressions and/or emotions in audience members consuming a temporary reality within the limits of the screening or performance duration, where the story could succumb to the rules of Geophysics or not abide by them. There is a reaction to these patterns from these multiple inputs. These reactions are made by audience members as a complementary gesture towards the storyteller, whether the storyline is based on actual facts or analogical fantasies with materialistic elements.
Selection and Program: Islam Kamal