A Line of Flight from One Radically Closed Space to Another

The two best cinematic versions of the birds of Van Gogh&apos;s &quot;Wheatfield with Crows&quot; (July 1890) are the abstract, artificial ones of Hitchcock&apos;s &quot;The Birds&quot; (1963), who utter an out of this world sound; and the electronic birds in ...

Jalal Toufic

The two best cinematic versions of the birds of Van Gogh's "Wheatfield with Crows" (July 1890) are the abstract, artificial ones of Hitchcock's "The Birds" (1963), who utter an out of this world sound; and the electronic birds in the section "Crows" of Kurosawa's "Dreams" (1990). Kurosawa's film confirms that the crows in Van Gogh's painting are unworldly entities that irrupted in a radical closure, rather than worldly birds that were previously invisibly resting in the field or flew over it from behind the horizon. Through editing seamlessly the abstract, artificial birds in the opening credits sequence of Hitchcock's "The Birds" with the ones that appear from behind a school building to attack the fleeing schoolchildren, my short conceptual film renders clear that the attacking birds came straight from the film's credits sequence and reached the latter, by way of a radically-closed wheat field, from Van Gogh's "Wheatfield with Crows," a radically-closed painting where these unworldly birds initially irrupted.

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A Line of Flight from One Radically Closed Space to Another

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