I accidentally misposted my response about stratiagraphic cinema on the
wrong Yahoo group, but got some great replies! Bill Krohn suggested
some further readings in French:
"There's an earlier discussion of the cave at the beginning of
Othon that was published in the Cahiers in 1971 - Narboni relates it to
Mallarme's esthetic (which is now over a hundred years old, right?).
You might find
a later piece by Comolli - La Terre Ecrite - more interesting - it's
about
Israel, and it discusses a couple of films he saw at some festival on
the
subject. I don't remember if something by Gitai is one of them; King of
Kings
definitely is. The Narboni piece was 224; I'll have to find the
Comolli, if you're
interested. Harry Levin wrote a piece about Israel as a text (in the
sense
Comolli means) in The Centennial Review, probably sometime in the 70s."
Andy Rector responded to this:
"Thanks for the Willeman/Cafe Lumiere report, Adrian. I think this is
a very fitting approach to Hou and Cafe. There's something of this
interlacing of time frames in the shot where the Father is picking up
the Daughter from the train station in his car; it hit me like a
brick when I first saw it. In long shot Hou has the car and train on
parallel lines, in a side view, and the Daughter approaches the car
in deep space toward the camera from the train, with the mute
mechanics of the car on the soundtrack. The rhythms of the car
sounds, the train sounds, the deep space walk, and the father's
waiting all have distinctions in relief, seperate from one another,
in existence and flow."
Stratiagraphic cinema really is a 'boom' area, after all !!
Adrian
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