Immortal, Suspended

Deborah Stratman

2013 | 00:05:50 | United States | English | Color | Stereo | 16:9 | HD video

Collection: Single Titles

Tags: Landscape, Ritual, Television

The idea of suspension is evoked on shifting registers – as levitation, cessation, preservation, and suspense – and located in sites whose identities slip as we track through a space within a space.

Camera, Edit, Sound Design: Deborah Stratman
Scroll: T’ang Yin
Dolly: Matthew Thompson

 

Pricing Information

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Premiere

New York Film Festival, Views from the Avant-Garde
New York, NY
2013

Exhibitions + Festivals

 

Forumdoc.bh, Belo Horizonte, Brazil – 2013

Vision Quest, Chicago – 2013

International Film Festival Rotterdam, Netherlands – 2014

Power Plant, Full Frame Cinema, Durham, NC – 2014

Cal Arts Bijou Theater, Valencia, CA – 2014

Experiments in Cinema, Albuquerque, NM – 2014

 

Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung