At the time when I made this book (2007-8) Godards films were a really significant touch for me. Godard is famous for inventing the jump cut, which introduced all of these strange positions. But he also had a way of bringing together really heterogeneous content - to film history, politics, psychology, the character's personal lives - that gave his films character. I was really impressed by this and wanted to do something like it with this book. I felt like the conventions i had to play with were photography's, not cinema.
I Believe you liar starts out as a road trip, a portrait of a woman leaning on a car, a road map and a scene of the Hollywood hills suggest the forthcoming photos to be the images of the adventure Blalock has enticed us with. The next image after this however is an abstracted pattern that looks to have been on a textured wall or window, the shot is blurred as to suggest movement. Here, the first jump cut of the book as the next image is of a new women, this time sat formally and looking intently into the camera, in the background is a blue curtain, the scene is a completely different environment than what the beginning of the book suggests.
Throughout, interact with each other in pairs, sometimes mimicking the composition of the other, often placing people in environments.
Each set of photographs are interesting as images and seem to contribute to a feeling of confusion in the viewer, characters in the book never appear more than once and subject matter varies throughout, becoming more and more disjointed as the book goes on and finally ending on an image of a white cupboard set.
Overall "I Believe you liar" flips the traditional narrative of the photobook and leaves the reader guessing. The ending passage at the back of the book provides no answers and only adds to the confusion.
The images throughout are pleasant and interesting, the non linear plot line leaves room for them to be interpreted page by page as opposed part of a traditional sequence.