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Act of Faith and Jimmy’s End

November 29, 2012 Leave a comment

The question to start us off is what makes an image or sequence of images interesting to the audience. It could just be the content. No matter what the quality, if the mind invests the image with significance, it will be considered important. For these purposes, it doesn’t matter what form the image takes. It could be photographic or line-drawn, in oil paint or acrylic, old or new. It could be in a book or tattooed on to the skin. It could be spray-painted on to the wall of a public building or held in an encrypted file on a computer. The significance given to it is all that matters when the individuals with access come to judge it. Alternatively, the content may be invested with greater meaning because of external attributes. So we might consider preserved dead animals achieve a meaning that transcends their inherent reality simply because of the person whose name appears as an artist and the place where they are displayed. If the bodies were in an abattoir, not even Damien Hirst’s name could save them from being turned into food. But if they are designated an art installation and displayed in Park Avenue, they can take on a greater significance if that’s what the viewers want. Calling the whole, “The Physical Impossibility of Death in the Mind of Someone Living” is also seeking to provoke thought. Whether it actually needs the pickled sheep to make us think about death is a different matter. Turning to erotica or pornography, Umberto Eco suggests that a sign can be used as a substitute for something else. All we have to do is accept a social convention that an image of, say, a banana can stand in for the penis. This is a convenient process because it allows a discussion about normally “prohibited” issues by using a code. Language can be too obvious, crude if you prefer. Equally, images can be too explicit, i.e. they do not lie about their content but show it for what it is. So exploiting connotative meanings in words or images allows greater freedom to deal in shades of significance so long as all the viewers understand the process and can decode the intended meaning.

Siobhan Hewlett going through her ritual preparations

 

Having set the scene in typical academic fashion, we come to two short films made by Alan Moore and Mitch Jenkins. The two are linked by a common character, Faith Harrington played by Siobhan Hewlett. In the first, Act of Faith, we have an autoerotic asphyxiation potentially going wrong. The question, “What happens to faith?” is of course, theological. But an answer of sorts is provided in the second film, Jimmy’s End, where she appears in a distinctly different club environment which lurks as a kind of flytrap for people like James Mitchum (Darrell D’Silva). What makes this pair of short films so interesting is that this is Alan Moore setting out to use film as his medium of expression. He’s been remarkably dismissive of the various attempts made by others to translate his printed work into a cinematic experience. In a gesture of semi-anarchic purity, he’s resisted all efforts to associate him personally with the film-making, asserting it is pointless to take static images created as a comic book or graphic novel and recast them as moving images. For him to take his own money, write this pair of script for filming, and oversee production is therefore brave. It’s asserting his own aesthetic is superior to Hollywood directors and cinematographers.

Darrell D’Silva not quite at wit’s end but close

 

In part this comes from the content. He’s not competing directly. Mainstream Hollywood does not so overtly deal with the erotic. In the first, we’re shown a woman who’s stepped away from social life with her colleagues at work, who distances herself from her father. For her weekend entertainment, she prefers something a little more exciting. This, of course, begs the question why people do push beyond the conventional. It’s important in this to recognise the ritual being performed. The choice of clothing, the way in which the different items are put on, the style of makeup, and so on, are an essential part of the experience. Only when viewed as a whole do the parts come together to enhance the final climatic moments. This scenario forces the film-maker to play with the conventions of soft porn and voyeurism to establish the mind game being played. More importantly, the title shows the ironic intention because, by timing her arrival in that particular position, she’s literally putting herself in the hands of another. It’s a real act of faith because we all know how unreliable other people can be.

Alan Moore, Mitch Jenkins and Siobhan Hewlett coming together in the cutting room

 

Switching to Jimmy’s End we have a similar theme played out from the male perspective. Come the evening, a certain type of man goes out to a succession of pubs. This can be treading a well-worn path or an entirely random journey from sobriety to a state of mind in which he feels comfortable in going to a different part of town where he can find a different form of entertainment, perhaps involving women. He’s not a roué. In some senses, he may be debauched, but he’s not leading a life of sensual pleasure. There’s a form of self-imposed degradation about each night’s outing. The result is our “hero” accepting an invitation into a demimonde “club” environment in which he’s plied with free drinks, introduced to Faith and comes into the ballroom for the main event. He’s free to leave at any time but elects to become the main focus of the night’s entertainment. What’s clever about this is, first, that it’s understated in its depiction of shades of sexuality, while the subtext is that life can become as monotonously boring as all the catchphrases and jokes that are recycled into meaninglessness. What might have been fresh the first time we heard it, becomes tiresome and then part of the wallpaper. All the people we see in the club are bored, going through rituals out of habit and not in the expectation of enjoyment. We can speculate on why any one them is present. For the majority, it’s as if participation is not wholly voluntary. This behaviour has been woven into the fabric of their lives over time. For the few movers and shakers, there’s profit to be made from the needs of others. This may be malicious exploitation, a kind of louche sadism in exposing the vulnerabilities of the majority. Or the relationship may be more complex.

 

Without being overly “arty” or trespassing too far over the boundaries of good taste, both films represent a pleasingly idiosyncratic view of sex and sexuality, using the conventional signifiers to make some interesting comments in the subtext on the potential for boredom in the routine of sexual behaviour. Although some of the cinematography is slightly static and posed, this is partly because we’re not engaged in a classic narrative being told through the usual visual conventions. The camera is being used in a more dispassionate way to record events and to comment on behaviour by highlighting features of significance. It’s very successful at this length, but more stylistic variation would have to be added if a full-length feature film was to avoid creating its own clichés. That said, both films are a testament to a different eye being brought to bear on film-making conventions. Alan Moore and Mitch Jenkins are to be applauded for demonstrating real professionalism in all aspects of the film-making process. If Hollywood was prepared to trust Alan Moore, it would be interesting to see what kind of film would result.

 

Both films are available to view on Youtube:
Act of Faith
Jimmy’s End

 

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