Experiencing Interruptions?

FLASH

The story in FLASH begins with the photographer projecting his gaze on the model when it suddenly turns on the photographer by turning him from subject to object.

  • Jaime Acker
    Director
    Change, Watch Me Move, Look Like Me, Poser
  • Jaime Acker
    Producer
    Change, Watch Me Move, Look Like Me, Poser
  • Jaime Acker
    Editor
    Change, Watch Me Move, Look Like Me, Poser
  • Project Type:
    Short
  • Runtime:
    2 minutes 23 seconds
  • Completion Date:
    November 30, 2018
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Jaime Acker

Jaime Acker is a lens-based artist exploring ideas of gender and power using the language of portraiture and performance art. Best graduated from the Meadows School of the Arts full fellowship graduate program at Southern Methodist University in 2014. Over the years Jaime's work has been selected for events such as Slideluck Dallas. Later he was nominated by the Contemporary Art Dealers of Dallas for their inaugural FUNd Grant in 2015, and the Artpace international Artist in Residence in San Antonio, Texas. Jaime has completed 2 artist residencies in Berlin. He was first selected to attend a session at the Institut für Alles Mögliche and Picture Berlin where he spoke about his work. Jaime has exhibited and published work in the US, Germany, Austria, and the UK.  Additionally, Jaime's compelling and provocative video work has been selected by the Berlin, Vienna and San Fransisco Porn film festivals.

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Director Statement

Departing from the classic photographer/model relationship, I continue to explore the power of the male gaze, defined by Laura Mulvey as deriving sexual pleasure from looking at the passive female object. The story in FLASH begins with the photographer projecting his gaze on the model. Then the gaze suddenly turns on the photographer by turning him from subject to object. FLASH represents not only the usual sexual pleasure men enjoy from looking at a passive female object, but also disturbs this familiarity as I turn the camera onto myself. I believe this action transforms, transfixes and critiques the complexities of the masculine in photography.