View Chopra’s film triptych, “Mother Ghosting” (2018), which was created in tandem with her essay, “Rampage, Wounds and Chthonic Desire: A Mythological Complex for the Feminist Poetic Line,” published in Matters of Feminist Practice: A Journal of Feminist Criticism in 2020.
The film triptych is meant to be viewed as three separate but simultaneous and looped projections that, due to their varying lengths, perform different synchronicities between them, over time. The triptych can be viewed in two ways. You can either view all three on a single, three-way split screen (Viewing Method #1) or view them on three separate screens/projections/windows (Viewing Method #2).
Viewing Method One: This version places all the projections onto a single, three-way split screen for viewing accessibility and convenience. What is lost in this viewing method are the shifting synchronicities that occur between the films over time when they are looped.
Mother Ghosting: Full Split Screen Triptych
Viewing Method Two: All parts below are meant to be viewed simultaneously on three separate screens/projections/windows. The sound for this viewing method is in part #3. You can loop (or restart each film) to experience the shifting synchronicities between the films, over time.
“Mother Ghosting” part #3 (this part contains the triptych’s SOUND)
“Mother Ghosting,” a film triptych by Serena Chopra, explores the energies and pulses of the feminist poetic line through the gendering of sound/speech/song and matrilineal mythologies, observing menstruation as a kind of mother-daughter blood-line that holds the resistance and fury of patriarchally-induced traumas.
This film contains nudity.