The Theory of Time Here

Roderick Coover

2007 | 00:06:32 | United Kingdom | English | Color | Stereo | 16:9 | Video

Collection: Single Titles

Tags: City, Language, Sound, Technology, Time

It is TIME at a street corner in London... A collaboration between filmmaker Roderick Coover and writer Deb Unferth, this short marks the textual disintegration of the speaking clock in an unnerving portrait of technology, power, and the urban environment.

The Theory of Time Here is a formalist work about the speaking clock and its proverbial voice. Its repetitive, calming tone distracts from the fact that it represents a marriage of the two most inescapable and oppressive authorities--technology and time. Here familiar images and phrases become playfully disassembled and reassembled. Whatever choices the humans make are constrained by--and expressed within the conditions of--the powerful forces of technology. These forces are expressed through convention. They may approach total disintegration, yet somehow, perhaps through convention, they right themselves, and begin again.

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Premiere


2007

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