tag:blogger.com,1999:blog-16398571.post2795784956998817018..comments2023-10-30T11:57:26.749+01:00Comments on SCREENVILLE: When do images turn into cinema?Unknownnoreply@blogger.comBlogger13125tag:blogger.com,1999:blog-16398571.post-23646400488486466442009-10-10T19:45:04.865+02:002009-10-10T19:45:04.865+02:00Raymond Bellour (Moving Images. Tate Modern) 23 Ma...Raymond Bellour (<a href="http://channel.tate.org.uk/channel#media:/media/26057466001&context:/channel/search?searchQuery=moving+images" rel="nofollow">Moving Images. Tate Modern</a>) 23 May 2002 :<br /><br />"Cinema is a dispositif amongst others (Camera obscura, fantasmagoria, lanterna magica... all the history of XIXth century). Of all possible dispositifs, suddenly emerges this HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-74234372678321153962009-06-18T14:02:58.356+02:002009-06-18T14:02:58.356+02:00Christian Metz in A propos de l'impression de ...Christian Metz in <i>A propos de l'impression de réalité au cinéma</i> (Cahiers du cinéma, #166-167, mai-juin 1965); in <i>Essais sur la signification au cinéma</i> (Paris) :<br /><br />"Une réponse s'impose d'emblée, c'est le mouvement (une des plus grandes différence entre le cinéma et la photo) c'est le mouvement qui donne une forte impression de réalité." [..]<HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-64373486331555916242009-06-18T13:52:55.334+02:002009-06-18T13:52:55.334+02:00Edgar Morin in Le Cinéma ou l'Homme imaginaire...Edgar Morin in <i>Le Cinéma ou l'Homme imaginaire. Essai d'anthropologie sociologique.</i> 1956. Ed. de Minuit. p. 197<br /><br />"Si les objets exhibés sont immobiles, si la caméra est elle-même immobile, il n'y a plus de films mais une succession brutale et spasmodique de cartes postales [..] <br />La participation du spectateur ne fait plus le lien [..] On Comprend que le HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-782077351762563392009-06-12T03:47:26.032+02:002009-06-12T03:47:26.032+02:00"Flashes of Brilliance. A brief history of th..."<a href="http://www.movingimagesource.us/articles/flashes-of-brilliance-20090611" rel="nofollow">Flashes of Brilliance. A brief history of the flicker film</a>" by Michael Joshua Rowin at Museum of Moving Image (11 June 2009):<br /><br />"Jonas Mekas told Kubelka that he watched Rainer with his eyes closed as the light rhythms of the film pulsated on and through his eyelids. He HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-53961758305899442692009-04-17T19:27:00.000+02:002009-04-17T19:27:00.000+02:00Cinema without Image :
"Experiments with the...<A HREF="http://invisiblecinema.typepad.com/invisible_cinema/2009/04/migrating-forms-friday-april-18-v%C3%B8id-for-film-imageless-cinema.html" REL="nofollow">Cinema without Image</A> :<br /><br />"Experiments with the extreme limits of what constitutes cinema:<br />a provocation. A question? An open argument, perhaps.<br />Actually, a demonstration of the possibilities of paracinema:<br />a HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-58625747564564772662007-11-05T12:51:00.000+01:002007-11-05T12:51:00.000+01:00Zach Campbell on Ernie Gehr's Serene Velocity at E...Zach Campbell on Ernie Gehr's <B>Serene Velocity</B> at Elusive Lucidity :<BR/><BR/><A HREF="http://elusivelucidity.blogspot.com/2007/10/body-breaks.html" REL="nofollow">The Body Breaks</A> : "Around 23 minutes in length, Serene Velocity invites a really intense viewer participation. One can stare at--study--the frame almost like it's a rapidly alternating still picture. Or one can enter into theHarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-90060630486681985702007-11-05T12:39:00.000+01:002007-11-05T12:39:00.000+01:00Peter Kubelka in an audio interview at Film-makers...Peter Kubelka in an audio interview at <A HREF="http://www.film-makerscoop.com/" REL="nofollow">Film-makers' Coop</A> (scroll down to bottom of page for the Flash player) :<BR/><BR/>"I had realized that cinema is not motion. The word movie is a lie. On the screen really nothing moves. The projector (XVth century mechanical device), brings every 24th of second another image in front of the light HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-59565001598122054172007-10-31T17:53:00.000+01:002007-10-31T17:53:00.000+01:00Adrian Martin at Filmkrant:"In 1965, American arti...Adrian Martin at <A HREF="http://www.filmkrant.nl/av/org/filmkran/fk293/engls293.html" REL="nofollow">Filmkrant</A>:<BR/>"In 1965, American artist George Landow (aka Owen Land) made Film in which there appear edge lettering, sprocket holes, dirt particles, etc. It is an early classic of the 'materialist' movement in avant-garde cinema, picking up from Kurt Kren in Austria and anticipating the HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-73683350422622885442007-10-31T00:21:00.000+01:002007-10-31T00:21:00.000+01:00Well I defend my point of view, maybe I'm totally ...Well I defend my point of view, maybe I'm totally wrong. <BR/>Artists don't care for taxonomies anyway, they do what they feel, and the theorists do the contextualization. The Avant Garde always breach bounderies and tear down labels. And the audience doesn't care for theory. So whatever it is it always work anyway, and establishes its relationship between the audience and the artwork, on HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-91866308833531229392007-10-30T23:01:00.000+01:002007-10-30T23:01:00.000+01:00Hi Brian, thanks for sharing your insights.I agree...Hi Brian, thanks for sharing your insights.<BR/>I agree with you, when the experience of viewing (or making) is more important than the end result. That's why it belongs to conceptual performance Arts, rather than cinema, which focuses on rendering invisible the making (perceptual continuity)) and the viewing (suspension of disbelief).<BR/><BR/>The "cinematic" way and the "stroboscopic" way are HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-90652396221237652032007-10-30T22:01:00.000+01:002007-10-30T22:01:00.000+01:00It exploits it in that one moment, though, and isn...It exploits it in that one moment, though, and isn't that enough? <BR/><BR/>Though I do think the images in a single-frame film can be perceived by the human eye (certainly not every image gets perceived on a conscious level, but some images will stick), I'm not convinced that it'd be any less "cinema" if they didn't. <BR/><BR/>We can never completely comprehend every signal in any film. Even Unknownhttps://www.blogger.com/profile/11188203309797275712noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-115496263962470152007-10-30T08:59:00.000+01:002007-10-30T08:59:00.000+01:00Very apt quote Rob, thanks for posting it. And he ...Very apt quote Rob, thanks for posting it. And he goes on : "Even silkscreening, producing a series of paintings takes time and effort, and for all the other - many no doubt better - reasons Warhol turned to filmmaking, he must have delighted in the knowledge that he could produce 24 stills in a single second, each still, just like each silkscreen, very similar to the others yet slightly HarryTuttlehttps://www.blogger.com/profile/10721542203087536185noreply@blogger.comtag:blogger.com,1999:blog-16398571.post-60302572748911558272007-10-30T01:32:00.000+01:002007-10-30T01:32:00.000+01:00"Is there a more succinct summation of the magic o..."Is there a more succinct summation of the magic of cinema than the moment in Chris Marker's <I>La Jetée</I> when, after several minutes of still images, a face suddenly and unexpectedly breathes to life?" - <A HREF="http://daily.greencine.com/archives/002221.html" REL="nofollow">David Hudson</A>davishttps://www.blogger.com/profile/10459132352667973470noreply@blogger.com