âGod is the âinfinitely distant man.â â Edmund Husserl The Crisis of European Sciences and Transcendental Phenomenology
Alexandra sees interiors as deserted as the ones captured by the camera of Alfred Hitchock, freezing time in endless and anxious expectation â suspense. When portraying the interiors presented in her three-picture frame series, Alexandra shifts the perspective, creating the effect of vertigo. In the films of the mid-1950s, Hitchcock diverged from Hollywoodâs gold standard, which prescribed combining the perspective of the camera with that of the director and viewer, and instead transmitted to the camera the perspective of the actor who is feeling dizzy. Paperno presents us with such a perspective for examination, which changes our gravitational settings: she does not represent, but instead placesÂ us inside these almost flat images.