The performed sequences, such as this stem from the film’s original iteration as a loose narrative fiction, provide anchor points, or filmic punctuation marks. They are accompanied by a third-person narration that further stabilises the spectator’s position as that of ‘watching a story unfold’. Conventionally, the camera is most frequently used as though it were a third person observer, offering a view of a performed scene. Unhomely Street slides between this approach — the representation of subjectivity that is understood according to cinematic conventions of interiority — and attempts to render thought images.
Early in the production, I asked friends to talk to the camera, against a green screen background, about how they felt about capitalism. In the original format, these rushes amount to documentary interviews. The subsequent artistic transformation, however, signposts the sequence as intentionally subjective without obscuring the original content. The recorded polemics suggested certain visual treatments. Steve Bollom’s gentle tone and succinct performance led me to turn him into a tree. Other contributors became a boil, pool, or situated in a pub setting, presented as murky recollections of a previous night’s drinking session. The fuzzy, blurred vision in the next clip is an attempt to render the recollection of drunkenness. This is not new, but rather operates as filmic shorthand. Thought is multi-sensory, but film, with its audio-visual qualities, provides a platform for the representation of mental states.