Understanding DSM’s Film World

Abstract

Dog Star Man shows us a different, unusual film world in which images are continually transformed and vanish into apparent chaos. It is a poetic and visionary world, a world full of images that, before representing places, objects, and people, offers the filmgoer feelings, emotions, and visual experiences. It is a world whose space has uncertain and blurred boundaries. It is a world that exists in psychic and dreamlike, not physical and measurable, time. It is an image of the unconscious throbbing beneath ordinary consciousness, which habit has tamed to accept formal order and the schematism of objectivation. The first perception of the film world is a visual poetry of vision. However, as soon as we have perceived the film world, we are faced with symbolic expressions that give shape to a mythology. The lyrical and visionary flow of images becomes a cosmic force that symbolically actualizes and expresses itself through in form of a myth. In this mythopoeic dimension, original visions tend to materialize and become the expression of an impetus in which life flows and a world is created.