History of Shrouded Screen

A chapter from the cycle of experimental films called If I Ever Lose My Eyes follows representatives of the Movement of Linen Film. Ladislav Valeš sees the film media as the Shroud of Turin which imprints not only the surface, but also what extends beyond us. In the same way, the author of the film imprints Valeš’s face and figure into the black-white countryside surrounding Klapý. The shapes of the bridge and gravestones represent the architectonic morphology of human mind, which merges reality and fiction, consciousness and subconsciousness. A chapter from the cycle of experimental films called If I Ever Lose My Eyes follows representatives of the Movement of Linen Film. Ladislav Valeš sees the film media as the Shroud of Turin which imprints not only the surface, but also what extends beyond us. In the same way, the author of the film imprints Valeš’s face and figure into the black-white countryside surrounding Klapý. The shapes of the bridge and gravestones represent the architectonic morphology of human mind, which merges reality and fiction, consciousness and subconsciousness. A chapter from the cycle of experimental films called If I Ever Lose My Eyes follows representatives of the Movement of Linen Film. Ladislav Valeš sees the film media as the Shroud of Turin which imprints not only the surface, but also what extends beyond us. In the same way, the author of the film imprints Valeš’s face and figure into the black-white countryside surrounding Klapý. The shapes of the bridge and gravestones represent the architectonic morphology of human mind, which merges reality and fiction, consciousness and subconsciousness. A chapter from the cycle of experimental films called If I Ever Lose My Eyes follows representatives of the Movement of Linen Film. Ladislav Valeš sees the film media as the Shroud of Turin which imprints not only the surface, but also what extends beyond us. In the same way, the author of the film imprints Valeš’s face and figure into the black-white countryside surrounding Klapý. The shapes of the bridge and gravestones represent the architectonic morphology of human mind, which merges reality and fiction, consciousness and subconsciousness.