18:01 min
Video, color, sound
Central to Dean’s formal investigation is the use of a technique called multi-plane animation effect, whereby the different elements of a perspective image are separated into successive layers, crafting an illusion of three-dimensionality, immersion, and perspectival depth or parallax. This technique, extensively mechanised by Walt Disney in the 1930s by re-purposing automobile parts into a multi-plane camera, was a crucial aspect of the industrialization of advertising and the intensification of the technical division of labour in the production of capitalist imaginaries. As Dean explains, “Disney effectively turned the multi-plane camera into a Fordist assembly line for the production of subjectivity”.
Sources: Ford commercials: 1924 - present; The National Archives, Ford, The Rubber Plantation at Boa Vista on the Tapajos River, Brazil, transferred 35 mm black and white film, 1930
After effects animation: Gary Dumbill
Illustrations: Danielle Dean, Marceline Mason, Tida Whitney Lek
Sound: John Somers
Sound contributions from: Cruce Grammatico, Dominic Coppla, Sacramento Knoxx
Included in exhibition:
Quiet as It’s Kept, Whitney Biennial 2022
Midnight Moment, Times Square Arts
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)
Video still, Long Low Line (Fordland)