Description
Object description
The film is shot from a British Army vehicle moving through an Afghan market. The film captures the varying responses of the Afghans to the British troops as they patrol, and at times the shadow of the vehicle can clearly be seen as it passes. The artist presents the film in slow motion, which focuses the viewers attention on the minutiae of the facial expressions as people respond to the presence of the vehicle. The work gives a strong sense of the tensions in the relationship between the Afghan people and the British troops stationed there.
Physical description
film is stored on a hard drive
Label
The film is shot from a British Army vehicle moving through an Afghan market. The film captures the varying responses of the Afghans to the British troops as they patrol, and at times the shadow of the vehicle can clearly be seen as it passes. The artist presents the film in slow motion, which focuses the viewers attention on the minutiae of the facial expressions as people respond to the presence of the vehicle. The work gives a strong sense of the tensions in the relationship between the Afghan people and the British troops stationed there.
Label
This shows a market in Lashkar Gah, newly liberated from Taliban control and enjoying a renewal of commerce. Neville filmed it from a British armoured 'Husky' vehicle during a single pass through the market. Every nuance of the local population's response to the camera, and to the patrol vehicle is captured in their faces and body language.
Label
Neville makes skilful use of slow motion to create soundless, timeless scenes "like being trapped in a muted nightmare". Film runs through the camera at high speed, capturing hundreds or sometimes thousands of frames per second. It is then played back at the standard rate of 25 frames per second. The technique gives a fluid, lyrical grace to its subject, opening our eyes to a different, dream-like experience. We are enabled to perceive details we would otherwise miss, revealing the complexity of the conflict. In the lens of the slow motion camera past and present are blurred, exposing the recurring, ever-present nature of conflict.
