vershy versh
Well-known member
Shaka posted Pennebaker's short, Daybreak Express, the other day and the above was posted in the comments below as part of a longer quote of Pennebaker's discussing his debt to Ellington and musicians as a whole.
"The very nature of film is musical,"
- Thread starter vershy versh
- Start date
entertainment
Well-known member
I have always thought the essence of film lies in the cut. I think it is in the juxtaposition of two disparate elements that meaning is filled out by the viewer.
Obviously films are different and this is not the only way they can work on you. But I don't think of them as continuous or whole structures as I do with music.
Obviously films are different and this is not the only way they can work on you. But I don't think of them as continuous or whole structures as I do with music.
vershy versh
Well-known member
There's an Abel Ferrara interview where he mulls over the importance of the space between frames.
We’re going from actual film, the shadow of silver—because at the end of the day, man, you don’t know if you’re getting the same “whammy” watching a digital image as you do when you watch 35mm. Pick some kind of movie that tons of people have seen—something like Treasure of the Sierra Madre, just for argument’s sake. Everybody has some lock in that movie and it’s deep in some people, and maybe you can’t get that in digital. When you watch a 35mm print in the movie theatre, it’s stopping for 1/24th of a second. It’s not going smooth. It’s stopping and its going “click, click, click.” That’s why it’s making that sound. But at the end of the day, the space between those images, when you watch a 35mm movie in a dark cinema, the audience in a 90-minute or 2-hour film, the audience is actually only sitting in the dark for maybe ten minutes of that. Because of the space in-between those frames. That’s not happening in a digital movie. You’re being assaulted by a constant stream of zeroes and ones—that’s where the title for the new one came from.
So maybe in that dark is where the movie is really playing, when you get back to the dream state. You get what I mean? And you’ve got a group of people accepting that. So can you ever get that if you’ve got, like, Treasure of the Sierra Madre sitting in a 300-seat house in 1935 or whenever the fuck? That negative is loaded with silver—you’re seeing the shadow of precious metal. You’re going to get that now? Who knows? I hope so.
Abel Ferrara on Reinventing the Cinematic Form and Approaching All of His Films as Documentaries
There's a nice quote in Abel Ferrara's 2014 film Pasolini: "The meaning of this parable is precisely the relationship of an author to the form he creates." It's an idea I've been quite taken with in the years since, and unsurprisingly Ferrara has only expanded upon it in his most recent two...
thefilmstage.com
vershy versh
Well-known member
distribution points
There's an idea taking shape in my head that says there is music that traces the entire arc of a movement in real continuous time, and other that works as a series of jump cuts, so that there are sections of the tape missing, you find yourself leaping from point A to B without having been lead...
www.dissensus.com
luka
Well-known member
Clinamenic
Binary & Tweed
Yeah viewer's subjective association between discrete images is fundamental to film, but also the effective glitch in our sensory cognition where discrete frames shifting at a fast enough frequency is indistinguishable from "actual" motion.
Clinamenic
Binary & Tweed
Haha yeah I thought it was a solid film, interesting to compare to Ali Fear Eats the Soul, but it wouldn't crack my 300 favorite films, I don't think.