O sole mio

12 July 2014. Published by Benoît Labourdette.

Kaleidoscope, magic lantern, invention of the phonograph, longing for love...

The circle and the screen

The primitive kaleidoscope has a circular screen, inside which small parts move in the middle of a hexagon (or more) of mirrors which face each other. To move the little things that create the image, you must give a rotative motion to the cylinder which is held in hand.

The circle is the element (as may be the air, or water) in which the kaleidoscope is living. What fascinates in this repetition is its mathematical dimension : what we see does not exists, it is only an illusion created via mirrors and circular movements. What we see is a mathematical abstraction proposed vision, instead of the vision of reality.

The early projection devices, because of the circular lens, which focus the light beam, projecting a luminous surface, a “screen”, which is a circle.

Gramophone and nostalgia

Former kaleidoscope, the former showing the first railroads, industrialization... and Enrico Caruso, singing ’O sole mio in 1916.

Evocation of early mechanical recording, the beginning of the multiplication of ghosts in a technological world : the dead, we could see and hear living after their disappearance, on screens and in speakers. Enrico Caruso recorded a lot of records, and his wide success contributed to the success of early phonograph.

The LP record is black, like the images of the film, which does not rotate out, but turn inside.

The subject of this song brings everyone back to moments of his personal history. The link between this song, kaleidoscope, and an evocation of magic lantern... can revive memories.

Diffusion

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Observe an obscure oblique obstacle

The kaleidoscope, a figure made up of mirrored replications of the same image, offers a very “organic” vision of things. Like a visual metaphor for cell division, it opens up a realm of perceptions and emotions far beyond the mere decoration it might at first appear to embody. This figure, very rare in films, has always questioned me, which is why I’ve been exploring it in film for a long time.

It’s been a nice surprise to see animated kaleidoscopes flourishing on screens over the last four or five years, in film and series credits in particular. I invite you to read the manifesto text on the practice of animated kaleidoscopes, which I wrote ten years ago, in 2014: « Thinking about moving kaleidoscope image ».