Ruins have long been an inspiration to artists, just as they are a source of speculation and research for archeologists. Variously seen as melancholic or picturesque, they are both site and metaphor, arousing meditations on human frailty, the fleeting quality of time, and the rise and fall of empires. In our series Time's Shadow: Film Among the Ruins, we present films that draw on ancient ruins and landmarks of antiquity from Rome to Mexico, and films set amid modern ruins, the devastating results of war, violence, and disaster, whether the rubble of postwar Germany, post-earthquake Iran, or the World Trade Center. And we present films concerned with the ephemeral nature of film itself. Some of the earliest writings on cinema suggest that it will forestall death by recording people and places for all time. We've come to learn that film, too, is impermanent, subject not only to accidents but to the deterioration of the material itself. A number of contemporary filmmakers have found beauty in these decomposing images. Others construct films from society's ruins, reclaiming discarded, forsaken objects and recycling them into meditations on time's shadow-memory, history, and entropy. As things fall apart, they come alive with new forms, new meanings.
This series is inspired by the exhibition Time's Shadow: Photographs from the Jan Leonard and Jerrold Piel Collection, on view in the BAM Theater Gallery through August 8.
Kathy Geritz