(Screened at Cafe OTO with a live score performed by Psychic TV)
In the Shadow of the Sun exists essentially in the dead-centre of a triangle made of Lucifer Rising (Kenneth Anger, 1974), Begotten (E. Elias Merhige, 1991), and From the Pole to the Equator (Yervant Gianikian and Angela Ricci Lucchi, 1987). As one might thus expect, it is an oneiric, haunting and paradoxically apocalyptic world-creation, wholly intoxicating in the well-established avant-garde-cinematic mode of queer orientalism and yet, in eschewing a good three-quarters of the campiness we would associate with Anger or Jack Smith, the contrast between skeletal ritual masks and race/class-signifying top hats allows Shadow to approach a slight critique of the colonial “magickal tourism” so often in play. Note I do say “approach,” rather than “reach,” however there is a notable absence of naiveté within the gaze of these blown-up 8mm images.
The use of repetition and superimposition, as with Jarman’s earlier shorts (from which some of Shadow‘s footage is evidently lifted) invokes a particularly cabbalistic reading of montage – a visual praxis of solve et coagula – that demands numerous rewatching and reinterpretation. I certainly plan to oblige.