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Oscillating between homage and obsession, the film distills the gestures, expressions, and posture of Rose Hobart, the heroine of the exotic Hollywood drama East of Borneo (1931). Cornell's version of the film, reckless with the plot and other characters, slowed down, shrouded in violet blue, complete with Brazilian underscore and eclipse shots, frees Hobart from the encumbrances of cliché, stereotyping, and narrative gossip. (Ji.hlava International Documentary Film Festival)
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A work of art is always born from its historical and social conditions. While the pre-war avant-garde, especially European, discovered abstract forms of moving geometry and the dance of objects captured in the possibilities of film montage, Cornell mostly adhered to figurative creation in his entire body of work and his most famous piece, Rose Hobart, is one of the classic works of its author and is an embodiment of the found footage method. Therefore, from what conditions does this film emerge? It emerges from modern mass culture, which, unlike Europe, began in the USA in the 1930s. With his film, Cornell created a dream, but he could only do so because Hollywood had first created the consumerist dream East of Borneo. Cornell, with his found footage style, only utilizes the "artistic" prefabricated items of mass culture and tries to create higher-level art from them, or rather to make something valuable out of the ubiquitous junk, which is the fate of today's world.
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