Output details

Vice Versa Et Cetera (Video, 2010, 10’ colour, stereo sound)

The weave of sequences in Vice Versa Et Cetera incorporates four different types of transition. In the language of film, transitions, such as the irises in Iris Out, are grammatical devices that are used to mark a transition from one scene to another, which are either contemporaneous, as in ‘meanwhile in another part of the city’ or subsequent, as in ‘later that day’. This piece usesto use transitions as content in their own right, as images that assert a unique materiality in their momentary presence on screen.

The complex twisting and contortion of the frame in this piece – the evocation of three-dimensional imaging – was partly due to the realisation that Payne hadn’t really moulded or exercised the frame in previous pieces. In some respects it ignored manipulations that seem most apposite with respect to computer-generated imagery. The transitions in this piece, as in Iris Out, are interrupted from the outset, spoiling the illusion of continuous motion, or at least implicating the viewer in illusions thereof, and it is in this that Payne regards these pieces as the antithesis of animation.

Vice Versa Et Cetera has shown in a number of international film festivals, screenings and exhibitions, including: Off and Free Festival Seoul, South Korea; Festival Cinema Differents, Paris; Media City, Windsor, Ontario; Edinburgh International Film Festival; Onion City Film Festival, Chicago; Seoul International New Media Festival; You aren’t anything, you are everything Duchy Gallery Glasgow and a screening entitled 'Film Movement in Light: Pure Figures in Motion' on April 12th 2013. Vice Versa Et Cetera is cited in the following publications: A.L. Rees (2010) 'Four Experimental Filmmakers' in Sequence, issue 1.(ISSN: 2048-2167)