all voices are mine (installation view), 2018. Video.
all voices are mine
Single Channel Projection
Size: 420cm x 236.23cm (Large Variable)
Ratio: 16:9 (4K)
Sound: 2.1 Channels
The author intends to tell a story of another. The course of re-narration takes place in someone else’s setting of temporal and physical space. What had been carried through time is to be performed again from early morning into the late evening.
Participants arrive remembering the performed sequences. The camera now observes recalling of a memory and then the process of forgetting the borrowed narrative. It witnesses a recreation and records it getting subsumed into the narrative that no one keeps but the non-participating initiator. As the narrative plays out, he stays and waits to observe a reconciliation.
While waiting, he recalls a song he grew up listening to which had been written by his father for a film. Both the author and his father were and remain unaware of the settings in which the song was to be placed.
The film was never made.
Beginning in the closing years of the first decade of the new millennium, a new cinema began to emerge in Pakistan, which has inspired hopes of revival of the local film industry. The present author, however, disputes the “newness” of the reviving industry, arguing instead that the idea of a revival is implicit in a return to once was..
Lahore-based film industry, during its heyday was amongst the largest film industries in the world. However, beginning around 1977, the once vibrant film industry began a dramatic collapse into creative banality, intellectual decadence and popular irrelevance, marking its end.
The new wave has clear differences from what once was. This new cinema wave is led, on the one hand, by a new generation of filmmakers, many of whom have been trained abroad; and on the other, by a generation of actors and technicians, most of whom began their careers on television, or have otherwise remained affiliated with the same. Yet, despite this recent influx of fresh talent, the broader industry itself remains beset by obsolete studios, equipment, cinematic techniques and, actors and
extras. Even as the new cinema wave continues to blaze trails across Pakistani cinema skies, the old film industry has struggled to maintain its limited, almost peripheral, existence, with those affiliated with the Old Era now rendered redundant and without work.
The author recollected the memories of actors, extras, writers, filmmakers and other associated with Old Era films. Today, many of whom live anonymously, and often carry other professions. With the collected recollections, the author has hoped to construct a narrative which explores ideas of abruptness, imperfection, resemblance, memory, and remembering and forgetting.
© Basir Mahmood