ANTELA from Limia’s Sketchbook

The video footage “ANTELA” has been designed as a teaser for my “Limia’s Sketchbook” project, where I set out on a journey through the landscapes previously occupied by the former Antela Lagoon.

The feelings of the inhabitants of the area are divided between nostalgia and economic interests, and from an external perspective it is difficult not to take sides with the former, and to admit the frustration caused by the loss of this wetland, an important ecosystem with a high ecological value, but above all an incalculable cultural value. The Laguna was an essential part of the identity of the inhabitants of Alta Limia and is inscribed in the narrative not only of local legends and stories, but also in the biography of the people who lived there.

Like the photobook, the video fooage allows the author to control the sequence in which the images will be received by the viewer, although it predetermines the time available for viewing.

Elements such as fade in / out, zooming or music can influence the interpretation of the images: in the case of Antela, a music was composed that has a certain “epic” character, and was divided into the three moments in which it is articulated. video:

  • Presentation of the lagoon: this section starts with the image of the oldest archaeological remains known as “High Stone of Antela“, from which the Laguna would take its name. The two next images present a veiled image in which the image of the lagoon seems to be guessed (in reality it is a sand exploitation) and an image of the original vegetation of the area. The music is idyllic. The sounding ocarina helps to create a primordial atmosphere. The transition between the images is smooth. None of the images shows elements that denote the human presence.
  • The calm is broken abruptly, and the execution snare warns of the aggression. In the rhythm of the music, the images are shown violently. The hand of man and industry is visible in each image. The images double in number to those of the previous section and the section closes with a threatening image of the wooden boxes used in the collection of the potato. Two choirs of voices are opposed: the lament of the Lagoon and a resounding ostinato that repeats the word “Antela”.
  • The section is closed with three desolating images. The war rhythm of the music persists, and a bagpipe that sounds  in the background recalls the connection between the land and the cultural identity of the people. There’s no hope.

 

Although in some other video montage he made, the Ken Burns effect was criticized, I think it serves to give rhythm to the sequence. The lines separating the photographer from the videographer are becoming narrower, and the screen can not be expected to have the same static character as the paper page. In this case, the criterion has been unified and I have chosen to zoom in on each image.
The transitions between sections are made with a “visual noise” effect that clearly determine the scope of each section.

The number of photographs presented is small, and the duration of the video does not reach two minutes. If the intention of the video is to disseminate a photographic project, all the images should not be included and some expectation should be created. A short sequence allows you to edit a group of images based on a specific narrative.

 

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