Jeanette Iljon

Jeanette Iljon

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Most Known for...

Movie Picture

Focii 1974 (5)

A woman dances and mimes, her stark white image moves across a red floor, reflected in a fractured wall of mirrors. As she performs, her mirror image gradually assumes an autonomous identity so that what was a central relationship of self to self has become one self to other. Focii not only explores the construction of self, and the dynamics of self and other, but also the interaction between the viewer’s body and the body onscreen, raising questions on the nature of identification in cinema.
Movie Picture

That’s Entertainment/The Conjuror’s Assistants 1978

That’s Entertainment/The Conjuror’s Assistants is an attempt to reveal some problems inherent in vérité documentary such as voyeurism, the nature/extent of a vérité intervention and audience “passivity”. A frame by frame analysis of just 100ft of documentary footage taken at a children’s Christmas party, the film shows the young man “entertaining” the adults and children and his two young assistants, the a younger boy and an older girl, and the reaction of the audience – men and women supervising children of both sexes. The visible materiality of the film is used to distance the action and encourage a reading the film as a 'text.
Movie Picture

Mantra 1975

Exploring both dance and some of the properties of film, ‘Mantra’ begins by recreating movement through a rhythmic series of still images. A woman dances, via these still images, to music by Stockhausen, her image filling the screen, her performance evoked through the use of jump-cuts. Breaking in on this is an animated sequence which describes women and childbirth. This experimental film eventually moves into live action, showing the dancer’s movements in slow motion and freeze frames.