Giuseppe Boccassini is an Italian director who graduated in film theory (D.A.M.S.) at the University of Bologna, Italy with a thesis about the Italian director, Elio Petri. Also he graduated in movie direction at N.U.C.T. (The New University of Cinema and Television) located in Cinecittà, Rome, Italy and Ciudad de la Luz, Alicante, Spain. After he works as director, director of photography and editor for films and television in Madrid. He is co-founder of the Gruppo Farfa, an educational film project that develops in Puglia, Italy. With his experimental film “Eidola” participates in several international film festivals and wins as the best second experimental video on the Backup Film Festival, Weimar, Germany. He currently based in Berlin where he works as freelance film director and editor.
Showing On Air: Giuseppe Boccassini ‘s “Obscene” (2012)
Super 8 and 35mm porn movies were shot with a MiniDV camera, focusing exclusively on some anatomical details. Magnifying and distorting filters, old camera lenses, cardboard tubes, glass jars, and colored plastics were also used. The deconstructive approach follows Carmelo Bene’s definition of the obscene:
“The Obscene, the pornographic, is the physical place where the act is exclusively performative, neither metaphoric nor representative, as it happens in sport. In Porn, it is the body itself that is the scenario and the space of action. The actor merely performs a mechanical function, acting out the drama without psychological insight. In this way, the action is suffered by the subject and the body becomes a mere object.
Carmelo Bene defines misologically the term “obscene”. The pornographic, or the ob-scene, “ob” indicating “against”, “reversely”, out-of-scenes, off stage: everything that is not in the scene. This definition reinforces the idea that Porn represents a kind of advanced stage of a figurative path, which includes the exclusion of the Ego. In this direction Carmelo Bene modeled porn as a place determined by the absence of subjects that are psychologically and emotionally active, interpreting it as a place of an existential aesthetic of its own rather than as a unique model.
It is from this premise that the film approaches the figurative research of Francis Bacon, and of a large part of modernist painting: the body is no longer a complete and organic unit, or a subject, but a composition, a fetish decomposed (cubism) or de-compounded (see Bacon) in the fragments of an anatomical study. Hence, if the body is the Porn’s landscape, subject and then object of the action which takes place within it, then the idea of the film is to free it from this mechanical dialectic. This is done first through the fragmentation of the space, and therefore of the body, perceived in independent units, then in their analogical distortion. The autonomy of the individual fragments, now tattered foreign to the just deconstructed body space, brings the obscene in a dimension that ranges from the physical (the space of representation manipulated by analogical filters that make it less recognizable) and the out-of-sight, the Invisible.
In the film, the out-of-sight imaginative dimension is revealed through its cyclic structure. Obscene opens and closes in the shadow of an old 35 mm film in black and white, where the mind of a man is crossed by an eye looking at the screen, which fades inside it at the end of the movie. The deconstruction has been made through the use of a MiniDv camera, which shoots some porn movies, focusing exclusively on some anatomical details. During the shoot, super 8 and 35mm amateur old movies have been used and their frames were physically overlapped to the optics of the camera, determining the transparency of color and brightness. Other analogical filters, such as magnifying and distorting ones, old lenses of cameras, cardboard tubes and plastic, glass jars and colored plastics have been used. This technique follows the obscene in a less recognizable physical space, towards abstraction. The low definition MiniDV digital format is even more hybridized by an analogical and material approach that acts on the depicted forms, destroying them, dismembering, deforming and
contaminating them with old reflexes of blurring films. The tension to the invisible, to the nebulous that passes through the analogical and the filmic, is an aesthetic position that nostalgically jokes with the hyperrealism of the contemporary preoccupation with high definition.”
- Giuseppe Boccassini
B#O 000002 (2011)
“Flee, my friend, into your solitude! I see you deafened with the noise of the great men, and stung all over with the stings of the little ones. Admirably do forest and rock know how to be silent with you. Resemble again the tree which you love, the broad branched one – silently and attentively it overhangs the sea. Where solitude ends, there begins the market place; and where the market place begins, there begins also the noise of the great actors, and the buzzing of the poison flies.”
B#O 000001 (2011)
The work develops as a sort of “analog investigation” of a natural landscape. The director manipulates the images of dead leaves and branches through the use of analog filters, deconstructing the idea of adaptation and the need to be life forms in a creative process. In this sense, the director’s purpose is to cancel the form itself, to get out from the representation. He doesn´t want to inform, to shape, to re-present (presenting the thing) but to express, literally “ex” out and “press” to exit by pressing. Far from the code of the representable, he tries to obtain no-forms or at least not constantly changing forms.
Other Videos by Giuseppe Boccassini
L E Z U O a film by Giuseppe Boccassini (trailer) 2013
A film by Giuseppe Boccassini, 15 min, No Space, 2013.
IN 1843 ANDREA LEZUO, A NATIVE CARVER FROM THE ITALIAN CITY OF ARABBA,
SETS SAIL ON THE EHON SHIPTOWARDS “LA MERICA”
The Yo Yo Man
Short doc experimental
Director, Cinematographer,super8 filters, editing, post prod, sound: Giuseppe Boccassini.
Music: Fabio Orsi.
The video “looks” at the semantic/experiential micro-universe made of memories by showing some frames of an old super 8 film put on the lens of a miniDV camera. Moreover, it “looks” at the cinema as a sort of material to model. The “schizophrenic eye” – the dialectic question between the mechanical and the real eye – is another aspect of the video, that wants to explore the reality and, in particular, the collapse between its mechanical reproduction and nature.
The title “eidola”, from the Greek “eidolon” (that means ghost, image) in the Democrito and Leucippo’s atomistic philosophy indicates the images of the things that are generated from the collision between the physical atoms of the body and their organs of sense.
“The objects continually send in the space around them the images of themselves. These images, called “edola”, go into the eye – by the pupil – so that they can reveal themselves. The air is full of no material images that fly in every direction. The objects constantly send images of themselves, as the snakes lost their skin when they grow up. A sort of perpetual transformation seems to be the ultimate characteristic of the bodies. And the air is constantly crossed by these ghosts, thin transparent coverings”. (Democrito)
- Back Up Festival, second prize for best experimental work
eidola was elected for:
2011 oct 33e Cinemed 2011 Montpellier France
2011 sept 8th Naoussa International Film Festival
2011 may Shortcutz Berlin, Guest Short, Germany
2011 may 5th-8th, Back Up Festival, Weimar, Germany
2011 jan 24th. Stuttgarter Filmwinter, Stuttgart, Germany
2010 dec Avvistamenti, Made in Italy, Bari, Italy
2010 nov Optica Videoart Paris “artistes indépendants #1″-Spain
2010 oct Ba.Co. Film Festival -Videoarte-Italy
2010 oct Doi Saket International Film Festival -SeeScape -Kingdom of Thailand
2010 sep FlEXiff -Special FLEXIFF Award -Australia
2010 sep The Walthamstow International Film -Festival Competition -London U.K.
2010 aug Corato in Corto Puglia: Tradizionale Crocevia di Popoli e di Nuovi Linguaggi -Italy
2010 aug Ecologico International Film Festival -In Concorso -Italy
2010 aug VideoPal! Kunstellung -Video Art Selection-Berlin, Germany
2010 jul Gimli Film Fest -Short Program #6: Cinema, My Love -Canada
2010 jul K3 International Short Film Festival K3 -Austria
2010 jul Melzo Film Festival – Semplicemente Guardare Oltre -In Concorso -Italy
2010 jun L’Altro Corto -In Concorso -Rome-Italy