Aline Carola
remembering is a problem
on it
down
out
off
that´ s love
In the middles ages "Carola" was the Italian term for the group dances which were danced in France and Italy and accompanied by songs.
On the semantic level Aline Carola wants to dissolve the staging of the "female arrangement": First the camera moves in front of the static motiv of a pair of shoes lying on the ground (the word "paradise" appears, imprinted in gold, drawing attention to the situation of women who have to wear such high-heeled shoes): The motiv is then animated using trick photography. The necklace draped over the shoes - the shoes themselves - start to move.
Later on, the postcard depicting Aline Carola´s face disappears to be replaced by a snake thus taking up the association of "Paradise Lost." The shoes begin to kick at the viewer and break the picture frame. All these are breaks, from an aesthetic viewpoint, of the perfectly arranged still-life at the beginning of the film. The oversize plastic flies crawling over the picture postcard beauty of Aline Carola´s face and the snake symbolize the "vanitas" of our existence. Decay is a motive which recurs constantly in Linda Christanell´s films.
(Sabine Perthold)
Sabine Perthold zu Aline Carola von Linda Christanell
Im weiteren Verlauf verschwindet die Postkarte mit dem Antlitz der Aline Carola; an ihre Stelle kommt eine Schlange, die bewußt die Assoziation von "Paradies und Sündenfall" aufnimmt. Die Schuhe beginnen, gegen den Zuschauer zu treten und sprengen den Bildrahmen. Dies alles sind Brüche zu dem aus ästhetischer Sicht perfekt arrangierten Stilleben zu Beginn des Filmes. Die über das Gesicht der Postkartenschönheit Aline Carola kriechenden, überdimensionalen Plastikfliegen und die Schlange symbolisieren die "vanitas" unseres Daseins. Die Verwesung ist ein Motiv, das in Linda Christanells Filmen immer wieder vorkommt.
(Sabine Perthold, 1990)
Aline Carola
1990
Austria
7 min