Recenzje (1)
Miron, as an admirer of Sharits, has a sense of psychedelia (and for experimental film itself...), and his films are a celebration of the most sensual and meaningful element of cinema, which moves from discourse to its materiality and back. The use of found footage, especially various vintage (considered obscene from today's perspective of the 50s and 60s) scientific, educational, and advertising materials, further emphasizes this shift, when the words and images that appear as self-contained authoritative and meaningful formations begin to reveal their unconscious essence: the pure joy of movement, colors, and rhythm, which gives each image, film, or science its effectiveness. F. Miron's joyful science, as the heir of structural film, a celluloid fetishist, and a descendant of Sharits' films in their psychedelic aspect of the 60s, summarized in the words from Miron's film The Evil Surprise by Timothy Leary, who is forgotten today: "any reality is an opinion." And Miron's opinion is that we should see the material from which reality is composed and which fascinates us for its own sake.
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