Choral Fantasy

A male filmmaker finds his research in feminist film theory coming into collision with his personal experience. The woman with whom he lives, a table-dancer he once saw, and a woman he has never seen appear before him – the camera eye – as manifestations of his desire to understand the ‘male gaze’. He begins to find his own rational language inadequate in dealing with his ideas and emotions, desire, privilege, his professed sensitivity, and his pretension and conceit. he also understands that the women, speaking within the frame of his understanding, have no real voice in his film. Choral Fantasy includes poetry, dance and music in its exploration of the consciousness of a male filmmaker, the act of looking, of recording and looking again at the re-presentation/representation. – G.P.
‘Choral Fantasy presents an illustration of theoretical positions through a sequence of images related to an incident. This incident – a recalled incident – is a visit to a table dancing bar by someone referred to as ‘you’ in the narrative. We don’t see the event, though we see partial, ritualistic re-enactments of it. Thus, the subject of the film is the institutionalised voyeurism of the film audience and/or about any human looking.’ – Michael Collins, Vanguard Magazine.