Film Response 5/2

I think that the photographer is attempting to analyze his actions as well as the actions of others. Also, in my opinion he is holding on to his past or what pieces of it he still can without trying to rekindle what he has already lost. The photographer in this film has lost his wife, with whom on the trip taking photos of churches grew tired of him for he had no real experience visiting the churches of his country of origin, Armenia. So after all he lost his wife, and also lost an opportunity to connect with the place his family is from. The memory and constant looking back, reflecting on his experience fails these memories, the film conveys such a strong emotion of loss that both the photographer and his wife suffered. The photographers constant aim of hiring women to talk on a phone in a language that he cant understand, as if he is paying someone to make him feel uncomfortable because when he reviews the films of their time in Armenia it seems as if the photographer does not feel uncomfortable, or feels guilty for not having any interest in the history of these churches, like Tollof Nelson said, “However, neither the photographer nor the commercial agency on behalf of whom he acts is interested in the kind of “semiotic healing” that may result from the magical or fetishistic materiality of the cliché-images themselves”(tollof nelson) that he was too focused and distracted by his work that now when the calendar has been published the memories haunt him. They haunt him in such a way that he is able to feel perhaps the way that he should’ve at the moment and not after the fact of the trip.

Tollof  Nelson. “Passing Time in Intercultural Cinema: The Exilic Experience of the Time-Passer in Atom Egoyan’s Calendar (1993).” SUB-STANCE. 2005: 129-144. Print.

Print Friendly, PDF & Email
This entry was posted in Film Response 05/02. Bookmark the permalink.