The screenings all dealing with the idea of deadpan were interesting. My intial response to "Mirror" was "why did Morris decided to use a mirror as a focal point/eye instead of just showing the scenery with the camera?" The entire picture was seen through the reflection of the mirror. Did this reflection have a deeper meaning as to how the viewer sees things? Was it a comment on how the audience views what the camera lens films and by using the reflective nature as a way to tease or bring light to a different way of seeing? Why did Morris show the reflection of the camera in the mirror briefly then? I think the use of the mirror is a direct comment as to how the viewer sees things.
"Lemon" the 2nd film we watched reminded me (like many other students) of a lunar/solar eclipse. It also reminded me of a sponge or paper towel soaking up water (relating to how the lemon seemed to be soaking up light with the movement of the lighting). The shadow on the lemon was like the water as it was absorbed. I think Frampton also made good used of the close-up to enhance the intricate details of the lemon. The texture was amazing and after staring at it awhile I even began to imagine objects (of human form) within the yellow and white of the lemon. This deadpan imagery of the lemon makes me wonder what was the purpose of the dedication? Was in paying homage in some way?
The best example of the deadpan idea I thought was exemplified in "Semiotics of the Kitchen." My immediate thoughts were "okay, she's saying the alphabet, like a children's show would." However, as she got further along a dark side (through the deadpan performance and actions) became much more apparent. Slashing the knife or pounding the meat tenderizer gave me the idea that this was a comment on the stereotypes of housewives and being "in the kitchen." The deadpan performance really made it clear that she didn't want to be in the kitchen, but still she went through with her rutine, like many stereotypical housewives do. The deadpan performance changed how I intially viewed this film to a much darker (even humorous) view. I believe each film had this quality of using the deadpan performance to change how the viewer sees things from their first impression or pre-conceived notion.
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Lydell,
All good questions about "Mirror." Consider, based on the notion of the mirror vs. the lens of the camera, how might Morris relate the two? Try answering some of your own questions. You might begin to draw out interesting conclusions.
Your read on Lemon is intriguing, because I think you see what Frampton is accomplishing in this work. Minimalism can do that, bring you to a heightened level of perception about something simple or common.
Overall, good analysis of the films. Although different in situation, they still hold a similar thread of the deadpan filmmaking style, drawing out various reads.
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