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Nicole Rademacher - Interruptions

1:38, 2007, Experimental
Snippets of traffic. The blackness becomes a street corner. The camera focuses. A young family caddy-corner across the street. Cars pass. Cut. The view is never obstructed. We watch the family say their good-byes. The mother is left to wait for the bus.
DirectorNicole Rademacher

CountryUSAEdition2009 Screeningsre-new 2009

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Interview

Who is Nicole Rademacher?
Nicole Rademacher is a new media artist - currently slanted more towards video than other ventures - based in Santiago de Chile.


Your film is about?
Interruptions is about the beauty in universal familial gesture.


How did you start with film? And do you have an educational background in art or film?
I found the moving image after I found the still one.
I have degrees from two fancy-schmancy American art schools.


Could you explain how you work, what themes or concepts and what is important to you?
I rely on process. I don’t visualize my end product before I begin. I begin with an idea, word, movement, image .... And I allow it to guide me in order to reveal it.


Where do you get your ideas or influences from?
Should I dare to be so vague as to say "life" ?
I like literature: Cortázar, Calvino; anthropology: Levi-Strauss; and culture: Garcia Canclini.


How does the title relate to the work, and how do you find a fitting title?
The titling of my work is never easy. Most of my pieces sit with the working title of "Untitled ###" for a long time, but when I do find a title it is usually word(s) that reveal something about the work.


How does content relate to the form of your work?
The content drives the form.


How important is sound in film, and if you use sounds, do you create your own or use existing?
Super important. I use both. More and more, I am using existing sound - but finding more poignant places for it (thank you Peter Kubelka).


How do you finance your projects (by yourself, sponsors or subsidy)?
Me. Just me. Right now, my projects aren’t very production heavy - so it is a matter of several mini-dv tapes and hours, upon hours, of editing.


Nowadays everyone with the right equipment can create videoart, good, bad or ugly?
True. They create good, bad, and ugly video art.

This makes (or perhaps will make) the profession more competitive. Additionally, it opens up the general public to video art - so that people from all walks of life and educational backgrounds can understand and enjoy it.


In what category would you place your work; cinema or art. And is there a difference between those?
Art. (I answered this last year and I am sticking by my answer)


How important is the reaction to your film by the audience?
Muy Muy Muy Importante.

My work isn’t cathartic (or solely cathartic). I am communicating with my spectators. I want the audience to see something or feel something.


What is your next project about?
Last year I said that I was working on an adaptation of a Max Aub play. I was, but I never finished. This year, though, I’m pushing forward in the same vein as Interruptions, but now I am looking for where the reality of what I have captured intersects with the fiction that I am creating.
I am also in the middle of an emotional and raw video installation.


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