Una diva con anteojos (A diva with sunglasses)
In the film Rear Window (1954) by Alfred Hitchcock, Jeff is a photojournalist prostrate in his room due to a broken leg, and who takes a voyeuristic position observing his neighbors through their windows, speculating about the life of these solely based on the limited field of vision he has over the facts.
Una diva con anteojos (A diva with glasses) is a re-edition of Hitchcock’s film, where using various digital editing techniques the neighbors were eliminated out of frame in different scenes leaving empty the rooms that Jeff spies throughout the entire film.
This project consists of a technical dismantling in the cinematographic structure on which the original film is built: the 'shot reverse shot'. Out of the simple and repetitive gesture of eliminating the characters, the work sought to dismantle the narrative and conceptual sequence of the original story, an exercise of purely technical rather than symbolic appropriation, and thus, by stripping it of its original structure, another was given in exchange.
This new movie is no longer about a man confined to his room and who finds his distraction by the window, speculating around images or reflecting on them. Now it is about a man creating mental images in empty places before the impossibility of being able to see something that gives meaning to his contemplation.
If Rear Window is a reflection on framing and the speculative projection around images, instead, Una diva con anteojos is an exploration about the invisible and the construction of narrative meaning given by the edition process, a meta exercise on the own cinematographic condition of postproduction.