FILM-PHILOSOPHY automatic digest system wrote:
> There are 4 messages totalling 248 lines in this issue.
>
> Topics of the day:
>
> 1. FILM-PHILOSOPHY Digest - 11 May 2006 to 12 May 2006 (#2006-151)
> 2. boom in view
> 3. Chris Marker (2)
>
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> Date: Sat, 13 May 2006 12:45:10 -0500
> From: rafael besaccia <[log in to unmask]>
> Subject: Re: FILM-PHILOSOPHY Digest - 11 May 2006 to 12 May 2006 (#2006-151)
>
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> Hoping you will excuse the fact that I'm new in the room, I have a comment:
> I am a philosopher and artist who has also worked technically in animation
> and digital video since 1994, including transfer from film. Properly done,
> there is no reason why any film format could not be successfully transferre=
> d
> to digital video: It is all a matter of care and attention, that is, for
> instance, a 24 fps film with cuts in every frame will not transfer
> efficiently to 30 fps video if this is attempted industrially without
> individual technical attention, but carefully done in a special manner
> designed to fit the original medium, I bet the artist him/herself would be
> surprised at the results. At the same time, as an oil painter and amateur
> photographer, I'd wholly agree that digital media just can not compare to
> analogic celluloid for depth and even a sense of warmth. As to big dark
> spaces, as silent as possible, obviously I agree.
>
> Rafael Besaccia
> www.magnaopera.org
> www.besaccia.com
>
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> <div>Hoping you will excuse the fact that I'm new in the room, I have a com=
> ment: I am a philosopher and artist who has also worked tec=
> hnically in animation and digital video since 1994, including transfer=
> from film. Properly done, there is no reason why any film format cou=
> ld not be successfully transferred to digital video: It is all a matt=
> er of care and attention, that is, for instance, a 24 fps film with cuts in=
> every frame will not transfer efficiently to 30 fps video if this is attem=
> pted industrially without individual technical attention, but carefully don=
> e in a special manner designed to fit the original medium, I bet the artist=
> him/herself would be surprised at the results. At the same time, as =
> an oil painter and amateur photographer, I'd wholly agree that digital medi=
> a just can not compare to analogic celluloid for depth and even a sense of =
> warmth. As to big dark spaces, as silent as possible, obviously =
> I agree. =20
> </div>
> <div> </div>
> <div>Rafael Besaccia</div>
> <div><a href=3D"http://www.magnaopera.org">www.magnaopera.org</a></div>
> <div><a href=3D"http://www.besaccia.com">www.besaccia.com</a></div>
> <div> </div>
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> ------=_Part_34095_18722971.1147542310922--
>
> ------------------------------
>
> Date: Sat, 13 May 2006 16:34:08 -0400
> From: ezra winton <[log in to unmask]>
> Subject: Re: boom in view
>
> Hello from Canada,
>
> I don't know if people are still interested in the boom discussion, =20
> but there is a boom in view in SATURDAY NIGHT FEVER when Travolta's =20
> character goes to the lead female's flat and talks to her in the =20
> doorway.
>
>
> Cheers,
> ezra
>
>
>
> Ezra Winton
> Program Director,
> Cinema Politica Film Series,
> Concordia University, Montreal, Quebec
> http://www.cinemapolitica.org
>
> ***********************
> Ezra Winton
> Programming Coordinator
> =FCberculture collective
> Cell: 514.265.1217
> Office: 514.313.3478
>
> =FCberculture Headquarters,
> 5620 Av. Du Parc, Suite #1,
> Montreal, Quebec, H2V 4H1
>
> =FCberculture is a grassroots, non-profit collective committed to the =20=
>
> reclamation of culture. We are concerned with the loss of cultural =20
> diversity due to a commercial culture industry based on the self-=20
> interest and greed of multinational corporations. Through thorough =20
> research and creative action, we expose and resist the =20
> commodification of society.
> http://www.uberculture.org
>
>
>
> On 24-Apr-06, at 10:51 PM, ekrem serdar wrote:
>
>
>> Carriere mentions something to that effect (you can see the boom =20
>> mike descend all "Living in Oblivion" like in The Secret Lives of =20
>> Dentists as well)- it's just a matter of human fallacy. I mean, on =20
>> the other end are things like the watch on Russell Crowe's arms in =20
>> Gladiator, etc. He talks briefly about tons of editors, going =20
>> through the film hundreds of times, and still something slips =20
>> through. It's pretty crazy, the things we choose to see.
>> * * Film-Philosophy Email Discussion Salon. After hitting 'reply' =20
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> ------------------------------
>
> Date: Sun, 14 May 2006 17:15:58 +0200
> From: guy assal <[log in to unmask]>
> Subject: Chris Marker
>
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> ------------------------------
>
> Date: Sun, 14 May 2006 18:13:22 +0200
> From: geska <[log in to unmask]>
> Subject: Re: Chris Marker
>
> The only dedicated book I am familiar with is Catherine Lupton "Chris =20=
>
> Marker - Memories of the Future" Reaktion Books Limited - see =20
> www.reaktionbook.co.uk
> Also I would suggest that you go to a film library and do a search in =20=
>
> film magazines - there are a couple of good articles out there, some =20
> mentioned below.
>
> Hovald, Patrice: "La Jet=E9e =96 le premier film du cin=E9ma =20
> "different"Avant- Sc=E8ne du cin=E9ma, nr 38, juni, 1964, p. 22-30.
>
> Kawin, Bruce: "Time and Stasis in La Jet=E9e" Film Quarterly 36.7, =20
> 1982, p. 15-20.
>
> Marker, Chris: "A free replay, notes sur Vertigo" Positif 400, juni =20
> 1994, s. 79-84.
>
> Martin, Marcel: "La Jet=E9e" Cin=E9ma=9264, nr 87, juni 1964, s.113-114.
>
>
Hi, I want to thank everyone for their response regarding non-story
driven films. Maybe I should have said something about why I’ve been
looking for recent examples. Its kind of difficult for me to do so
publicly because it involves a internal debate at the school I work at.
What I can say is that at the institution I teach the students are
taught that ‘story is king’. I hear this constantly. While I can be just
as much of a sucker for story as anyone else, its not the sole reason I
find films engaging. For example, personally I find the plot and story
in Mullholland Dr. doesn’t make much sense but I’m totally engrossed in
the film. I’m not really interested in trying to find out its means.
However, I love the way it disorients human perception. For me it is an
affective experience. The upshot is that Mullholland Dr. has been
condemned by many here for its poor story telling techniques.
Some of us at the school are trying to expose the students to
interesting films that are not necessarily story driven. They could be
experimental films, feature films or documentary. We have a pretty good
library of experimental films from the last century but not as good from
the last ten years and I’m lucky enough to get films sent up from
screensound when I need to. We also have a good documentary department.
Here is a little ‘story’. A couple of weeks ago I didn’t know whether to
laugh or cry when I screened a couple of hours of experimental films.
During one of Paul Winkler’s films and also /Anemic Cinema/ some of the
students were shouting “turn it off, please turn it off”. They talked
loudly through some of the other films and cracked jokes. I was taken
back because I had expected some of them to walk out but I didn't expect
them to stay and shout. Of cause I didn’t turn them off. But at the end
of the films I tried to have an open discussion about this strong
reaction, which at least they were happy to do.
Ciao Teresa
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