You could feel confident that the film was anthropocentric, although some authors photographed by Caielli tended to deny it. The landscapes, except in some westerns, were changing backgrounds of the protagonists: sedimenting motion, pictures show that the traces of those backgrounds persist more than human figures. And in the film whose challenge is desired over the excitability of the bodies aging and death, the hard, remain here fetishistic effects. So Bodil Joensen, Sirpa Lane, Karin Schubert are now dispersed in a universe of pure forms? Dreyer (and today Schrader) ask at the cinema to believe that the bodies can return over those forms which possess them". (Sergio M. Germani, Trieste film festival Imilleocchi director).
Film Landscapes is a photo project about cinema and movies, by the italian photographer Roberto Caielli. The first exhibition was host in Trieste, Italy, in 2013, at the Studio Tommaseo Triestecontemporanea Gallery, during the international film and art festival I mille occhi. The projects aims at exploring the relationship between static photography and the image in motion by photographing films with different technical and expressive approach.
A Film Landscape is a photograph of a whole movie. Each image, in a single shot with extremely long exposure times and different masking tecniques, is the entire movie from beginning to end. The fine art photographs printed in large format and transferred to the exhibition are those in which it was found interesting content from an aesthetic point of view, but especially critical signifier. When the photograph explains the film, it reveals the content. The photo is realized by means of a digital camera which photographs the film projected through a monitor, using a cap with a pinhole instead of using the objective.
“The choice of the film - Caielli says - has happened mostly by chance and has come from intuition / instinct. You can practically photograph every film and you can make it always different like when photographing a person or a landscape. The photograph explains the film revealing to a certain extent its content”.
“The idea - as the photographer explains - came to my mind while I was reading a classic of the history of photography by Laszlo Moholy-Nagy. This project begun like a game, eventually led me to discover its aesthetical and philosophical potential. The project considers the film as a huge landscape with dimensions, space and time”.
Among the fims photographed there are some classics of auteur films, such as Aguirre wrath of God by Werner Herzog, Shining by Kubrick, Solaris by Tarkovskji.
Film Landscape is not a picture on the conceptual meta-representation, it is not an ethical reflection on the medium of film or television, just consider the movie as a real object that you can photograph, a landscape that has large dimensions, space and time. “I shoot the movie because I like the movie and because it is a window of reality, as well as on reality”.
Roberto Caielli looks for an optical unconscious in the spatial structure of the film. Without distinguishing between classic films and pornography, holds it open for a very long time the camera lens in front of the projection of a film. The frequent return of a given spatial pattern in the sequence of frames is brought to light in the distribution of volumes etched on the surface of his "cinegrafie." The photograph of the cinema of Kubrick reveals, for example, the obsession of the director for central perspective, while shooting a sequence impresses the sensor with an amorphous deformation of space. (Michele Bramante, curator)