Reframing Experimental Cinema by Jon Gartenberg (1985)
|
|
- Alexia Stone
- 5 years ago
- Views:
Transcription
1 Reframing Experimental Cinema by Jon Gartenberg (1985) The Black Maria Film and Video Festival celebrates the creative spirit of experimental/avant-garde/independent filmmaking. In taking its name from the Black Maria, Edison's revolving film studio built around the turn of the century, this festival also pays homage to the first motion picture pioneers.[1] The genesis of avant-garde filmmaking has been traced back to the work of modern artists of the 1920's who were drawn to the kinetic and plastic possibilities of the film medium.[2] Yet little attention has been directed to viewing independent filmmaking in the context of early cinema (ca ). I would like to explore in this essay the relationship between these two cinemas.[3] By contrasting early cinema practices to those of the avant-garde, some of the significant concerns of experimental filmmakers can be more fully appreciated. Conversely, early cinema benefits from the comparison. We can rescue it from the stigma of "primitive." Rather, early films should be appreciated as a cinema in which diverse and not unsophisticated visual strategies were employed to tell stories. Although experimental/avant-garde/independent cinema resists a simple definition, it is most frequently described in terms of offering alternative approaches to commercial filmmaking. It has been historically less strongly allied "to concentrations of economic and social power"[4] represented by the studio system of film production. Whereas commercial/mainstream/hollywood cinema largely adopts the illusion of reality in its filmmaking practices, experimental films confront this illusionism through manipulation of the conventional forms of storytelling. With the rise of Hollywood cinema around 1915, a factory-like system of film production emerged. Filmmaking style became more uniform.[5] The classical mode of storytelling predominated, in which edits were hidden and a smooth flow to the narrative asserted. In contrast, experimental filmmakers have always questioned this seamless narration in the commercial cinema. Beginning in the 1920's, avant-garde artists radically altered the conventional means of linking shots to tell a story. For example, extended perspectives across successive shots transform machinery in Ballet Mécanique (1924) into a Cubist experience. The Surrealists' desire to alter our experiences of everyday reality into a "dream aesthetic"[6] can be seen in the disrupting spatial juxtapositions and the ruptured linear continuity across shots in Un Chien Andalou (1929). Independent filmmakers have consistently resisted control by the commercial cinema over the means of production and exploitation of their films. Consequently, they have been able to sustain to the present day an enormous diversity of visual strategies to examine such problems as (dis)continuity, the illusion of depth, and the visual representation of subjective consciousness.
2 In early cinema, the means of visual representation were also variegated. In the first decade of motion pictures, filmmaking practices were not systematized. Motion pictures were not a dominant form of entertainment until the rise of the Nickelodeon around 1905, and production/distribution/exhibition practices were constantly shifting. The structuring of images in early cinema was frequently influenced by other sources of entertainment such as newspaper cartoons, magic lantern slides and the theater. Different filmmaking styles competed for domination, at times simultaneously.[7] For example, in The Life Of An American Fireman (1903), the rescue of the family is shown as a repeated action over two shots, first from the inside of the burning house and then from the outside of the house. In Foul Play (1906), two simultaneous actions are shown in the same shot from the privileged position of the spectator looking in on a split set, while in the same film simultaneous action is also divided into successive shots edited together. We can find in these early cinema practices the roots of approaches addressed by experimental filmmakers in later years. Continuity Early one-shot Lumière films traditionally have been seen as "primitive" and open-ended. However, recent analysis suggests that these films are carefully structured as self-contained, enclosed narratives.[8] For example, framing and action are carefully orchestrated to describe various processes from beginning to end, including destroying a wall (Démolition D'Un Mur, 1896), preparing a cannon for firing (Artillerie De Montagne: Mise En Batterie Et Feu, ca. 1896), and breaking apart coke (Carmaux: Défournage Du Coke, ). Like the Lumière films, avant-garde artists have also structured narratives around processes. Stan Brakhage's Window Water Baby Moving (1959) graphically depicts his wife giving birth, and Francis Thompson's N.Y., N.Y. (1957) portrays a day in the life of this metropolis, from morning until night. These multi-shot films radically transform realistic representation of these activities into intensely subjective experiences through use of such techniques as distorting lenses and rhythmic editing patterns. Films such as Andy Warhol's Couch (1964) and Michael Snow's Wavelength (1967) more nearly approximate the single takes of the Lumière motion pictures. In these films, a sense of closure is deliberately frustrated. In Wavelength, the primary action concerns the progress of a camera lens slowly zooming across an empty loft. Four vignettes with live characters intrude upon the frame, as if to divert our attention into these unresolved dramas. In Warhol's Couch, the combination of static camera, long takes, and seemingly random lovemaking of the protagonists as though the camera could be turned on or off at any time, imparts this narrative with an open-endedness. Seen from the perspective of the early Lumière films, these experimental films can be more fully comprehended for the specific ways they challenge or refigure traditional modes of visually expressing continuity and closure.
3 Depth When camera movement began to be used with regularity in early cinema around 1903, it intensified the kinetic power of the medium, expanded the field of vision, and exploited space. The use of camera movement in early film also enhanced the illusion of depth in the image. In order to bring the action in the field of vision to a closer view, alternative methods to editing were developed. Among these was a dolly in to a close view. Another technique combined a camera pan together with movement of the protagonists diagonally across the frame from the background to the foreground of the image in order to frame the characters in close-up at the end of the shot. The illusion of depth was most forcefully accentuated by mounting the camera on the front of a vehicle moving toward the background.[9] Ernie Gehr's Eureka (1974) calls into question this illusion of depth. From a film originally shot around 1903, he rephotographed and optically reprinted each frame eight times. The field of vision is taken from a camera mounted on a trolley traveling down Market Street in San Francisco.[10] Gehr's transformations attempt to reproduce in us the feeling of what it was like for early filmgoers to experience the movement of film down that street at the turn of the century. Gehr's filming/reprinting technique imparts a prolonged sense of duration to the voyage in depth (not unlike the effect of Wavelength, and creates an experience of staggered movement. This alternation between halting progress and frozen action creates a febrile tension between stillness and energy, and between depth and flatness, like the concerns in other Gehr films such as Serene Velocity (1970) and Mirage (1981). This interplay between flat space and depth is also evident in trick films such as Méliès' Le Melomane (1903).[11] In this early film, a telephone pole is transformed into a music clef -- three-dimensional space is converted into a twodimensional canvas. Yet whereas the intention of Méliès was to amuse, Gehr's film fundamentally questions the illusion of both movement and depth in cinema. Magic In early cinema, the discovery of stop motion enabled filmmakers to create the impression that people and objects can appear and disappear, multiply many times over, and undergo sudden transubstantiation. Like their early cinema counterparts, many avant-garde filmakers have been drawn to the "magical" qualities of cinema. But whereas Méliès and his contemporaries tried to hide the tricks which created these sudden changes, avant-garde filmmakers have been dedicated to manifesting the means of creating these effects. In this way, they contest the impression of an objective reality that commercial cinema perpetuates, and remind us of the artifice of the filmmaking process. In the avant-garde vein, Stan Brakhage has championed this seemingly unlimited potential of cinema to mediate photographed images through subjective consciousness. He has observed that.
4 By deliberately spitting on the lens or wrecking its focal intentions, one can achieve the early stages of impressionism. One can make... image movement by speeding up the motor, or one can break up movement, in a way that approaches a more direct inspiration of contemporary human eye perceptibility of movement, by slowing the motion while recording the image. One may hand hold the camera and inherit worlds of space. One may over- or under-expose the film. One may use the filters of the world, fog, downpours, unbalanced lights, neons with neurotic color temperatures, glass which was never designed for a camera, or even glass which was but which can be used against specifications, or one may photograph an hour after the film labs will guarantee nothing, or one may go into the night with a specific daylight film or vice versa. One may become the supreme trickster, with hatfuls of all the rabbits listed above breeding madly. One may, out of incredible courage, become Méliès....[12] Experimental works are suffused with images produced through a myriad of such techniques. To name just a few of them, these include distorting lenses (N.Y., N.Y., 1957), matting and superimpositions (Castro Street, 1966), and direct film processes (Mothlight, 1963, and Kaleidoscope, 1935). Forerunners of many of these avant-garde techniques can be found decades earlier in early cinema practices. For example, the silhouetted characters in The Four Seasons (1901) prefigure the work of Lotte Reiniger. The high speed photography studies of Marey and others beautifully capture birds in flight at many times slower than their normal rate of movement. This method imparts to these images an abstract effect not dissimilar to the strategy of avant-gardists to manifest through slow-motion the "hidden reality" of an object. Using sensitive film stocks, early filmmakers were able to expand the shooting time beyond the crepuscule hour, and to capture the illumination from electric lights at night. This produced the effect of images filled with outlines of the shapes of buildings, not unlike the play with form which inspired the avant-garde artists of the 1920's and expressed in films such as Ballet Mécanique. In College Chums (1907), How Jones Lost His Roll (1905), and Do You Know This Family? (1905), anagrams flutter back and forth across the screen,[13] presaging the text and image concerns of George Landow and other experimental filmmakers. Conclusion Both early cinema and avant-garde filmmaking can be seen as divergent from the practices of commercial cinema. Like early cinema filmmakers, avant-garde artists found different ways to approach such problems as continuity, depth, and the perception of the objective world. The purpose of this essay has been to integrate early cinema more fully into the discourse about avant-garde filmmaking. Seen from this perspective, avant-garde filmmakers did not so much invent new techinques as question and refigure the assumptions of the commercial narrative cinema. In conclusion, we may be reminded that.
5 Early cinema offers a number of roads not taken, ambiguities not absorbed into the commercial narrative cinema. But for the avant-garde these need not be seen as history's dead-end streets. They can be inspirations for new understandings of tradition and for new films.[14] Footnotes 1. The historical & theoretical issues surrounding video are outside the purview of this article. Otis does not diminish the importance of video works to the festival. 2. See Lucy Fischer, "American Experimental Cinema: Breaking Away", in Circulating Film Library Catalog (New York: The Museum of Modern Art, 1984), pp , and Larry Kardish, "International Avant-Garde Film: Scattered Pieces" in Ibid., pp Several qualifcations are in order. We are not asserting that early cinema directly influenced the development of experimental filmmaking style. Nor are we stating that the intentions of early filmmakers were identical to the goals of experimental film artists. 4. Philip Drummond, "Notions of Avant-Garde Cinema, " in Films as Film (London: Arts Council of Great Britain, 1979), p See David Bordwell, Janet Staiger and Kristin Thompson's forthcoming book, "The Classical Hollywood Cinema: Film Style and Mode of Production to 1960," on the development and institutionalization of the classic American filmmaking style. 6. Larry Kardish, "International Avant-Garde Film: Scattered Pieces," pp See Cinema 1900/1906: An Analytical Study (Brussels: FIAF), 2 vols., 1982; Films before Griffith, John Fell, ed. (Berkeley and Los Angeles: University of California Press, 1983); Iris special issue on "Archives, Document, Fiction/Film before 1907," vol. 2, no. 1; Jon Gartenberg, "Vitagraph before Griffith: Forging Ahead in the Nickelodeon Era", in forthcoming issue of Studies in Visual Communication, vol. 10, no. 4, Marshall Deutelbaum, "Structural Patterning in the Lumière Films," in Films Before Griffith, pp See Jon Gartenberg, "Camera Movement in Edison and Biograph Films, ", in Cinema Journal, Vol. XIX, no. 2, spring 1980, pp See Morel Glick, "'EUREKA' by Ernie Gehr", in Film Culture, no , 1983, pp See Tom Gunning, "An Unseen Energy Swallows Space: The Space in Early Film and Its Relation to American Avant-Garde Film", in Films Before Griffith, pp Stan Brakhage, "From Metaphors on Vision, " in P. Adams Sitney, ed., The Avant-Garde Film (New York: New York University Press, 1978), p. 123.
6 13. See Eileen Bowser, "Preparation for Brighton - The American Contribution, " in Cinema 1900/1906, vol. 1, p Tom Gunning, "An Unseen Energy Swallows Space," p. 359.
TENTH EDITION AN INTRODUCTION. University of Wisconsin Madison. Connect. Learn 1 Succeed'"
TENTH EDITION AN INTRODUCTION David Bordwell Kristin Thompson University of Wisconsin Madison Connect Learn 1 Succeed'" C n M T F M T Q UUIN I L. IN I O s PSTdlC XIV PART 1 Film Art and Filmmaking HAPTER
More informationAlternatives to. Live-Action Fiction Films
Alternatives to Live-Action Fiction Films Documentary film/video representation of actual (not imaginary) subjects footage can be selected/shot or found do not have a set technique or a set subject matter
More informationChallenging Form. Experimental Film & New Media
Challenging Form Experimental Film & New Media Experimental Film Non-Narrative Non-Realist Smaller Projects by Individuals Distinguish from Narrative and Documentary film: Experimental Film focuses on
More informationThe Duel side of the classical period
The Duel side of the classical period Table Of Content Introduction..i What is classical Hollywood cinema ii The 3 Act Structure......iii 3 Systems of narrative films.......iv Editing, Space and Time...v
More informationEditing. Editing is part of the postproduction. Editing is the art of assembling shots together to tell the visual story of a film.
FILM EDITING Editing Editing is part of the postproduction of a film. Editing is the art of assembling shots together to tell the visual story of a film. The editor gives final shape to the project. Editors
More informationFILM HISTORY INTRODUCTION TO FILM CRITICISM
FILM HISTORY INTRODUCTION TO FILM CRITICISM Before the Movies: Photography Still photography invented by Luis Jacques Mandé Daguerre (1789-1851) ca. 1826 *next slide Positives; couldn't be reproduced.
More informationThe viewfinder p. 24 Indicators p. 25 Audio circuits p. 26 Power p. 26 Camera arrangements p. 29 Controlling the camera p. 29 Handling your camera p.
Preface to the third edition p. xi What is this book all about? p. xi Who is the book written for? p. xi Do I have sufficient equipment? p. xii Isn't all this equipment complicated to use? p. xii Why do
More informationFilm and Media Studies (FLM&MDA)
University of California, Irvine 2017-2018 1 Film and Media Studies (FLM&MDA) Courses FLM&MDA 85A. Introduction to Film and Visual Analysis. 4 Units. Introduces the language and techniques of visual and
More informationThe French New Wave: Challenging Traditional Hollywood Cinema. The French New Wave cinema movement was put into motion as a rebellion
Ollila 1 Bernard Ollila December 10, 2008 The French New Wave: Challenging Traditional Hollywood Cinema The French New Wave cinema movement was put into motion as a rebellion against the traditional Hollywood
More informationThe Classical Narrative Model. vs. The Art film (Modernist) Model
The Classical Narrative Model vs. The Art film (Modernist) Model Classical vs. Modernist Narrative Strategies Key Film Esthetics Concepts Realism Formalism Montage Mise-en-scene Modernism REALISM Style
More informationImage Sensor + Film Stock
Intro History Precursors Cinematograph Color Digital Cinematography Image Sensor + Film Stock Camera Movement Introduction: - The science or art of motion-picture photography. By recording light or other
More informationTwo Nights with Ernie Gehr: Early Films and New Digital Works
Jack H. Skirball Series Mon Nov 14 8:30 pm $10 [students $8, CalArts $5] Ernie Gehr: New Digital Works Tue Nov 15 8:30 pm $10 [students $8, CalArts $5] Ernie Gehr: Early Films Two Nights with Ernie Gehr:
More informationEditing. The Invisible Art. No technical glitches Feels natural and logical Good editing is unnoticed CAS 112
1 Editing The Invisible Art No technical glitches Feels natural and logical Good editing is unnoticed 2 Craft Mastered by practice Anyone can learn this Art Intuitive Native ability Experience Sensitivity
More information4. Explore and engage in interdisciplinary forms of art making (understanding the relationship of visual art to video).
Art 309- Video Visual Art Tu/Th 2-4:45pm Art and Design Center 401 Instructor: Jessica S. Azizi Fall Semester 2014 Office Hours: Tuesday and Thursday, 12:30-1:00pm @ SG 224 Email: jessica.azizi@csun.edu
More information1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures
Very Brief History of Visual Media 1889: George Eastman invents Kodak celluloid film 1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures 1911:
More informationEditing IS Storytelling. A few different ways to use editing to tell a story.
Editing IS Storytelling A few different ways to use editing to tell a story. Cutting Out the Bad Bits Editing is the coordination of one shot with the next. One cuts all the superfluous frames from the
More information4. Explore and engage in interdisciplinary forms of art making (understanding the relationship of visual art to video).
Art 309- Video Visual Art Mon/Wed 11-1:45pm Art and Design Center 401 Instructor: Jessica S. Azizi Spring Semester 2015 Office Hours: Monday and Tuesday, 1:45-2:15 @ SG 216 Email: jessica.azizi@csun.edu
More information2. Readings that are available on the class ELMS website are designated ELMS. Assignments 10pts. each) 60% (300 pts.
ENGL 245: Film Form and Culture summer I 2012 Instructor: Oliver Gaycken Instructor office: Tawes 3223 Instructor email: ogaycken@umd.edu Description This course introduces you to the fundamentals of film
More informationCOMPONENT 2 Introduction to Film Movements: Silent Cinema Teacher Resource
GCE A LEVEL WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2 Introduction to Film Movements: Silent Cinema Teacher Resource FILM MOVEMENTS SILENT CINEMA Introduction to Film Movements: Silent Cinema
More informationGlossary Unit 1: Introduction to Video
1. ASF advanced streaming format open file format for streaming multimedia files containing text, graphics, sound, video and animation for windows platform 10. Pre-production the process of preparing all
More informationFilm Lecture: Film Form and Elements of Narrative-09/09/13
Film Lecture: Film Form and Elements of Narrative-09/09/13 Content vs. Form What do you think is the difference between content and form? Content= what the work (or, in this case, film) is about; refers
More informationWhat most often occurs is an interplay of these modes. This does not necessarily represent a chronological pattern.
Documentary notes on Bill Nichols 1 Situations > strategies > conventions > constraints > genres > discourse in time: Factors which establish a commonality Same discursive formation within an historical
More information* Who speaks? Who is the author? Who controls what the text "says"? * In film (especially in American movies) this is often difficult to establish
Film Course Outlines COM 221--Neuendorf FALL 2006 1 A Question of Authorship: Auteur Theory * Who speaks? Who is the author? Who controls what the text "says"? * In film (especially in American movies)
More informationUnits. Year 1. Unit 3: There Was This Guy. Unit 1: Course Overview. 1:1 - Getting started 1:2 - Introducing Film SL 1:3 - Assessment and Tools
Film SL Units All Pamoja courses are written by experienced subject matter experts and integrate the principles of TOK and the approaches to learning of the IB learner profile. This course has been authorised
More informationPress Release May 2017
Press Release May 2017 P R E S S R E L E A S E Lumière! Le cinéma inventé [Lumière! The invention of the cinema] From June 13, 2017 to February 25, 2018 The exhibition Lumière! Le cinéma inventé is dedicated
More informationSYLLABUS AND POLICIES (UPDATED 1/22/17) FST 200 INTRODUCTION TO FILM STUDY Spring Discussion Section Leaders: Chas Andres and Adam Gnuse
SYLLABUS AND POLICIES (UPDATED 1/22/17) FST 200 INTRODUCTION TO FILM STUDY Spring 2017 Professor Todd Berliner Discussion Section Leaders: Chas Andres and Adam Gnuse Screenings and Lectures (all sections):
More informationJohn Cassavetes. The Killing of a Chinese Bookie 1976
John Cassavetes The Killing of a Chinese Bookie 1976 Cinema of Outsiders Emanuel levy Attempts to define Independent Cinema Places our Contemporary Understanding of Independent Film in Historic Context
More informationGCE A LEVEL. WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2. Experimental Film Teacher Resource GLOBAL FILMMAKING PERSPECTIVES
GCE A LEVEL WJEC Eduqas GCE A LEVEL in FILM STUDIES COMPONENT 2 Experimental Film Teacher Resource GLOBAL FILMMAKING PERSPECTIVES Experimental Film Teacher Resource Component 2 Global filmmaking perspective
More informationEditing. A long process!
Editing A long process! the best take master shot long shot shot reverse shot cutaway footage long process involving many-can take months or even years to edit films feature--at least 60 minutes dailies
More informationThe process of animating a storyboard into a moving sequence. Aperture A measure of the width of the opening allowing light to enter the camera.
EXPLORE FILMMAKING NATIONAL FILM AND TELEVISION SCHOOL Glossary 180 Degree Rule One of the key features of the continuity system to which most mainstream film and television has tended to adhere. A screen
More informationMultiple Choice Questions
Chapter 1 Introduction Multiple Choice Questions 1) Maxim Gorky referred to the world that film transported him to as the ʺkingdom of.ʺ A) dreams B) thought C) art D) shadows E) imagination Diff: 4 Page
More informationThe Golden Age of Film: Silent Film & the Birth of Talkies
Pop Culture Name: Shen The Golden Age of Film: Silent Film & the Birth of Talkies I. Origins of film a. As early as 1894-1895, crude animated films were shown on screens in the U.S. b. First picture show
More informationVisual and Performing Arts Standards. Dance Music Theatre Visual Arts
Visual and Performing Arts Standards Dance Music Theatre Visual Arts California Visual and Performing Arts Standards Grade Seven - Dance Dance 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding
More informationWhy study film? Is it not just about: Light form of entertainment? Plots & characters? A show: celebrities, festivals, reviewers?
Why study film? Is it not just about: Light form of entertainment? Plots & characters? A show: celebrities, festivals, reviewers? Film is also about: Source of stories for personal and collective Narratives
More informationToday in Visual Story. Editing. A movie is made three times: once through a script, once on set, and finally in the edit room.
Today in Visual Story Editing A movie is made three times: once through a script, once on set, and finally in the edit room. Dreaming and Cinema Editing as Punctuation Life and dreams are leaves of the
More informationInterview with Quentin Dupieux
Interview with Quentin Dupieux Can you tell us how you got started on this film? Between Steak and Rubber, I worked for almost a year on a script for a film called Reality. It s a difficult project to
More informationSpatial Formations. Installation Art between Image and Stage.
Spatial Formations. Installation Art between Image and Stage. An English Summary Anne Ring Petersen Although much has been written about the origins and diversity of installation art as well as its individual
More informationRecently a professor shared two images with me, the first was a photograph of ancient
Andy Warhol s Outer and Inner Space (2015) Recently a professor shared two images with me, the first was a photograph of ancient cave drawings from Lascaux and the other a plan of a city crudely drawn
More informationTEST BANK TEST - CHAPTER 1 BEGINNINGS. Multiple Choice
TEST BANK TEST - CHAPTER 1 BEGINNINGS Multiple Choice 1. Who wrote an entry in his/ her 1666 diary concerning a lantern with pictures in glass to make strange things to appear on a wall? a. Samuel Johnson
More informationLingnan University Department of Visual Studies
Lingnan University Department of Visual Studies Course Title Course Code Recommended Study Year No. of Credits/Term Mode of Tuition Class Contact Hours Category in Major Programme Prerequisite(s) Co-requisite(s)
More informationBeyond and Beside Narrative Structure Chapter 4: Television & the Real
Beyond and Beside Narrative Structure Chapter 4: Television & the Real What is real TV? Transforms real events into television material. Choices and techniques affect how real events are interpreted. Nothing
More informationAdventure Is Out There
John Hancock Charter School Inspirations The Inspirations Art Program is a chance for students to explore their creativity and celebrate the arts. We are excited to be participating this year with the
More informationIncandescent Diffusers Deflectors Photo boxes
High School Photography II Curriculum Guide Unit 1: Lighting and Lighting equipment Timeline: 5 Weeks Inquiry Questions: 1. What different types of lighting are available to a photographer? 2. How does
More informationVisual & Performing Arts
LAUREL SPRINGS SCHOOL Visual & Performing Arts COURSE LIST 1 American Music Appreciation Music in America has a rich history. In American Music Appreciation, students will navigate this unique combination
More informationM. Night Shyamalan s Unbreakable
An analysis of mise-en-scene and long takes in M. Night Shyamalan s Unbreakable - a distinctive use of film style in the work of a contemporary auteur - Inuk Jørgensen 20032803 Thesis Supervisor: Jody
More informationSCREEN THEORY (RTF 331K, UNIQUE # 08100) Fall 2012 University of Texas at Austin
1 Instructor: Professor Lalitha Gopalan Office: CMA 6.174 Telephone: 512-471-9374 e-mail: lalithagopalan@mail.utexas.edu SCREEN THEORY (RTF 331K, UNIQUE # 08100) Fall 2012 University of Texas at Austin
More informationFISCHLI & WEISS. Swiss artists Peter Fischli and David Weiss have been collaborating since 1979.
FISCHLI & WEISS Swiss artists Peter Fischli and David Weiss have been collaborating since 1979. Their most famous works include the films THE POINT OF LEAST RESISTANCE, 1981, and THE FLOW OF THINGS, 1987.
More informationAnalysis of Schubert's "Auf dem Flusse" Seth Horvitz
Analysis of Schubert's "Auf dem Flusse" Seth Horvitz shorvitz@mills.edu Mills College Tonal Analysis - Music 256 David Bernstein November 25, 2008 This essay will attempt to provide a detailed analysis
More informationCARROLL ON THE MOVING IMAGE
CARROLL ON THE MOVING IMAGE Thomas E. Wartenberg (Mount Holyoke College) The question What is cinema? has been one of the central concerns of film theorists and aestheticians of film since the beginnings
More informationInventing the Cinema at the Black Maria by Craig Saper (2003)
Inventing the Cinema at the Black Maria by Craig Saper (2003) Picture the following scene: it is a sunny day in the mid-1890s, say 1894. You've been invited to the Laboratory of Thomas Edison in West Orange
More informationContinuity and Montage
AD30400 Video Art Prof. Fabian Winkler Spring 2014 Continuity and Montage There are two basically different approaches to editing, CONTINUITY EDITING and MONTAGE THEORY. We will take a look at both techniques
More informationToday in Visual Story. Editing is Storytelling
Today in Visual Story Editing is Storytelling Dreaming and Cinema Editing as Punctuation Life and dreams are leaves of the same book: reading them in order is living; skimming through them is dreaming.
More informationSOUND ESSENTIAL CONCEPTS
SOUND ESSENTIAL CONCEPTS What is sound in cinema? Flexible & wide ranging technique It shapes our understanding of a film It directs our attention Consider that sound Is not simply an accompaniment to
More informationText from multiple sources, including In the Blink of an Eye by Walter Murch ISBN:
Editing Text from multiple sources, including In the Blink of an Eye by Walter Murch ISBN: 1-879505-62-2 The Process Simply put: Editing is the process of splicing together discontinuous pieces of film
More informationContinuity and Montage
AD61600 Graduate Video Art & Critique Prof. Fabian Winkler Spring 2016 Continuity and Montage There are two basically different approaches to editing, CONTINUITY EDITING and MONTAGE THEORY. We will take
More informationFilm and Television. 300 Film and Television. Program Student Learning Outcomes
300 Film and Television Film and Television Film is a universally recognized medium that has a profound impact on how we view the world and ourselves. Filmmaking is the most collaborative of art forms.
More informationTaming the Shrew: Media Editing Project of The Taming of the Shrew
Taming the Shrew: Media Editing Project of The Taming of the Shrew Item Type text; Electronic Thesis Authors Kosinski, Clare Therese Publisher The University of Arizona. Rights Copyright is held by the
More informationVolume 1.2 (2012) ISSN (online) DOI /cinej
Editing The Thin Blue Line: How can we destroy actuality with editing? Özlem TUGCE KAYMAZ, Kadir Has University, tugcekaymaz12@gmail.com Abstract Reviews referring to Francis Ford Coppola s Columbia Pictures
More informationMYTH TODAY. By Roland Barthes. Myth is a type of speech
1 MYTH TODAY By Roland Barthes Myth is a type of speech Barthes says that myth is a type of speech but not any type of ordinary speech. A day- to -day speech, concerning our daily needs cannot be termed
More informationTouch of Evil and Ecological Optics: Toward a Démystification of Conventional Film Editing Practice
Spring 1994 103 Touch of Evil and Ecological Optics: Toward a Démystification of Conventional Film Editing Practice Mike Evces In the history of narrative cinema, the long take has often been employed
More informationHollywood and America
Hollywood and America HIST/HRS 169 Section 01 Tuesday and Thursday Noon 1:15 pm Del Norte Hall rm. 1010 California State University, Sacramento Fall 2018 Instructor: Dr. Peter Gough peter.gough@csus.edu
More informationCrystal-image: real-time imagery in live performance as the forking of time
1 Crystal-image: real-time imagery in live performance as the forking of time Meyerhold and Piscator were among the first aware of the aesthetic potential of incorporating moving images in live theatre
More informationIsaac Julien on the Changing Nature of Creative Work By Cole Rachel June 23, 2017
Isaac Julien on the Changing Nature of Creative Work By Cole Rachel June 23, 2017 Isaac Julien Artist Isaac Julien is a British installation artist and filmmaker. Though he's been creating and showing
More informationBen Sloat February, 2017 Andy Warhol, From A to B and back again Barthes Roland camera Lucid
1 Ben Sloat February, 2017 Andy Warhol, From A to B and back again Barthes Roland camera Lucid Ever since the beginning of time, man has had an obsession with memory and recordkeeping. This fixation to
More informationGUIDELINES FOR SUBMISSIONS OF FILMS
GUIDELINES FOR SUBMISSIONS OF FILMS ALL SUBMISSIONS MUST BE INSPIRED BY THE CREATIVE PROMPTS TIME, LEGACY, DEVOTION AND ASPIRATION FILMS The Film Festival will encourage entries from artists interested
More informationWELCOME TO CHANNEL 17/ Town Meeting TV AT THE CENTER
WELCOME TO CHANNEL 17/ Town Meeting TV AT THE CENTER FOR MEDIA* AND DEMOCRACY/CCTV. CCTV Started IN 1984 AS A WAY FOR PEOPLE TO use TELEVISION TO TELL STORIES ABOUT THEMSELVES and share OPINIONS about
More informationDigital Video Arts 1. Course Codes. Industry Sector Arts, Media, and Entertainment. Career Pathway Design, Visual, and Media Arts
Digital Video Arts 1 Page 1 of 6 Digital Video Arts 1 Course Codes Mission Valley ROP: CBEDS: 5717 Industry Sector Arts, Media, and Entertainment Career Pathway Design, Visual, and Media Arts Academic
More informationFilm-Philosophy
David Sullivan Noemata or No Matter?: Forcing Phenomenology into Film Theory Allan Casebier Film and Phenomenology: Toward a Realist Theory of Cinematic Representation Cambridge: Cambridge University Press,
More informationJaakko Seppälä. The Magical A,rac.ons of Early Cinema & The Interna.onal Expansion of Cinema
Jaakko Seppälä The Magical A,rac.ons of Early Cinema & The Interna.onal Expansion of Cinema Brighton and A>er For decades early cinema was a neglected field of study Early cinema was seen as an elementary
More informationSeven remarks on artistic research. Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden
Seven remarks on artistic research Per Zetterfalk Moving Image Production, Högskolan Dalarna, Falun, Sweden 11 th ELIA Biennial Conference Nantes 2010 Seven remarks on artistic research Creativity is similar
More informationTokyo Story was directed by Yasujiro Ozu and released in Japan in It is about an old married couple that travels to Tokyo to visit their
Tokyo Story was directed by Yasujiro Ozu and released in Japan in 1953. It is about an old married couple that travels to Tokyo to visit their children. They are greeted warmly, but are treated as if they
More informationEditing Emotion. Overview. Learning Outcomes. Preparation and Materials LESSON PLAN
LESSON PLAN Level: Grades 5-9 Author: Duration: Matthew Johnson, Director of Education MediaSmarts 2-3 hours Editing Emotion This lesson is part of USE, UNDERSTAND & CREATE: A Digital Literacy Framework
More informationApply(produc&on(methods(to(plan(and( create(advanced(digital(media(video( projects.
Objec&ve(206 Apply(produc&on(methods(to(plan(and( create(advanced(digital(media(video( projects. Course'Weight':'20% 1 Objec&ve(206(,(Video Objectives are broken down into three sub-objectives : pre-production,
More informationDeleuze on the Motion-Image
Deleuze on the Motion-Image 1. The universe is the open totality of images. It is open because there is no end to the process of change, or the emergence of novelty through this process. 2. Images are
More informationFrom One-Light To Final Grade
From One-Light To Final Grade Colorists Terms and Workflows by Kevin Shaw This article discusses some of the different terms and workflows used by colorists. The terminology varies, and the techniques
More informationBody, Screen and Shadow. by Scott Snibbe. Published in the San Francisco Media Arts Council (SMAC) Journal. January, 2003.
Body, Screen and Shadow by Scott Snibbe Published in the San Francisco Media Arts Council (SMAC) Journal. January, 2003. Video projection is both light source and image. All people who have walked between
More informationFilm and Television. 318 Film and Television. Program Student Learning Outcomes. Faculty and Offices. Degrees Awarded
318 Film and Television Film and Television Film is a universally recognized medium that has a profound impact on how we view the world and ourselves. Filmmaking is the most collaborative of art forms.
More informationPeter Johnston: Teaching Improvisation and the Pedagogical History of the Jimmy
Teaching Improvisation and the Pedagogical History of the Jimmy Giuffre 3 - Peter Johnston Peter Johnston: Teaching Improvisation and the Pedagogical History of the Jimmy Giuffre 3 The growth of interest
More informationMichele Schreiber Department of Film and Media Studies Emory University Introduction to Film Through the Lens of Sustainability 6/17/11
Michele Schreiber Department of Film and Media Studies Emory University Introduction to Film Through the Lens of Sustainability 6/17/11 In the Fall semester of 2010, I co-taught a graduate seminar with
More informationEdison had no interest in cinematography himself. Wished to provide visual accompaniment for his successful phonograph.
FIL 1031 - History of Film I UNIT ONE: OPTICAL PRINCIPLES 1. Persistence of vision & Phenomenal Identity (Phi phenomenon). Allow us to see a succession of static images as a single unbroken movement and
More informationCalendar Proof. Calendar submission Oct 2013
Calendar submission Oct 2013 NB: This file concerns revisions to FILM/ENGL courses only; there will be additional revisions concerning FILM courses which are cross listed with other departments or programs.
More informationV I S C E R A L. Della Paul BFA Thesis Now faith is being sure of what you hope for, and certain of what you do not see.
V I S C E R A L Della Paul BFA Thesis 2015 Now faith is being sure of what you hope for, and certain of what you do not see. HEBREWS 11:1 I am here for a purpose: my faith in the Christian Gospel, which
More informationDigital Video Arts I Course Outline
Fall 2012 Arts Media Entertainment Advisory Committee Meeting Digital Video Arts I Course Outline Locations: Approvals: Instructors: ROP Center Logan HS Irvington HS UC A-G F Art Credit Barbara Feist Rich
More information1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures
Very Brief History of Visual Media 1889: George Eastman invents Kodak celluloid film 1894/5: Lumiére Bros. (France) and Edison Co. (USA) begin producing, distributing, and exhibiting motion pictures 1911:
More informationCinema Vérité & Direct Cinema
Cinema Vérité & Direct Cinema 1960-1970 Cinéma verité: Historical context French film movement of the 1960s that showed people in everyday situations with authentic dialogue and naturalness of action.
More informationUnique Design and Usability. Large Zoom Range
ENGLISH R Unique Design and Usability The Visualizer VZ-9plus³ is the top of the line unit amongst WolfVision's portable Visualizers. It surpasses WolfVision's popular VZ-8 Visualizer series as well as
More informationExperimental Modernism in City Symphony Films. Cecilia Mouat. The film medium that provides spectators with new experiences through the
Experimental Modernism in City Symphony Films Cecilia Mouat The film medium that provides spectators with new experiences through the reproduction of parallel realities in different temporalities was a
More informationResounding Experience an Interview with Bill Fontana
Resounding Experience an Interview with Bill Fontana by Jøran Rudi In this interview, Bill Fontana discusses his approach to listening as a personal process of the discovery of hidden sounds and the rediscovery
More informationAssociate Producer!!23,4#&!56*02$7!,#2#).& Director/Producer/Editor!"#$%&"'!(&")#* Camera/Co-Producer!+#,,#&(!-"#)./0"1. Production Manager!9#(!2)00"!
Director/Producer/Editor!"$%&"'!(&")* Camera/Co-Producer!+,,&(!-")./0"1 Associate Producer!!23,4&!56*02$7!,2).& Narrator!5&(02!)8!/3"*02 Production Manager!9(!2)00"! Special thanks to the filmmakers!!!!!!!!!!'&4'!"((0"!!!!!&,!"&.7)2!!!!!:&)"$&!1"7/0*!!!!!
More informationby Vittorio Storaro ASC, AIC Visualization by Fabrizio Storaro Univision - 2:1
by Vittorio Storaro ASC, AIC Visualization by Fabrizio Storaro Univision - 2:1 Ever since Plato's "Myth of the Cave" we are used to seeing Images in a specific space. In "Plato's Myth", prisoners are kept
More informationLife Group Dioramas and IMAX: Content Versus Form in the Education of the Modern Museum Spectator
Life Group Dioramas and IMAX: Content Versus Form in the Education of the Modern Museum Spectator Abstract Focusing mainly on the work of Franz Boas and Charles Acland, this paper examines the modes of
More informationFull High Definition Home Cinema Projector PT-AE1000
Full High Definition Home Cinema Projector PT-AE1000 PT-AE1000 - Outline Model no. PT-AE1000 Display device 0.74 C2Fine LCD panels (16:9 aspect ratio) Resolution 1920 x 1080 (native) Brightness 1,100 lumens
More informationTocino Glossary of Film Terms
Tocino Glossary of Film Terms Storytelling allegory ambiguity catharsis characters climax dramatic irony ellipses epiphany exposition flashback motif narrative parallel action plot point of view realism
More informationKatalin Marosi. The mysterious elevated perspective. DLA Thesis
FACULTY OF MUSIC AND VISUAL ARTS UNIVERSITY OF PÉCS DOCTORAL SCHOOL Katalin Marosi The mysterious elevated perspective DLA Thesis 2015 1 The subject of the doctoral dissertation The doctoral thesis intends
More informationNew Hollywood. Scorsese & Mean Streets
New Hollywood Scorsese & Mean Streets http://www.afi.com/100years/handv.aspx Metteurs-en-scene Martin Scorsese: Author of Mean Streets? Film as collaborative process? Andre Bazin Jean Luc Godard
More informationNorth Kitsap School District GRADES 7-8 Essential Academic Learning Requirements SECONDARY VISUAL ART
Essential Learning 1: The student understands and applies arts knowledge and skills. To meet this standard the student will: 1.1.1 Understands arts concepts and Explains and applies vocabulary: the concepts
More informationFILM In-Class Presentation. Vertigo (1958) and Formalist Film Theory. Jonathan Basile, David Quinn, Daniel White and Holly Finnigan
FILM 331 2012 In-Class Presentation Vertigo (1958) and Formalist Film Theory Jonathan Basile, David Quinn, Daniel White and Holly Finnigan Outline Vertigo is a 1958 film directed by Alfred Hitchcock Summary
More informationObservations on the Long Take
Observations on the Long Take Author(s): Pier Paolo Pasolini, Norman MacAfee, Craig Owens Source: October, Vol. 13, (Summer, 1980), pp. 3-6 Published by: The MIT Press http://www.jstor.org Observations
More informationReference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.
The Hong Kong Institute of Education Department of English ENG 5219 Introduction to Film Studies (PDES 09-10) Week 2 Narrative structure Reference: Chapter 6 of Thomas Caldwell s Film Analysis Handbook.
More informationTheatrical Narrative Sequence Project
Theatrical Narrative Sequence Project Name: Theatrical - Marked by exaggerated self-display and unnatural behavior; affectedly dramatic. Stage performance especially by amateurs. Theatricals Affectedly
More information