> Why seeing this as a problem, and not a benefit and enrichment to the
> pre-existing (or the only existing) reality. Together they create one
> thing which is reality through the eyes of camera and is the only
> reality. Because whether it is through the lense or not they are still
> the same thing.
> Roy Gokay Wol
>
Of course, they are the same and I like this idea of talking about film as
being right before our eyes: In the end, two different types of reality
become the one reality of the film seen and experienced. Not to see
differences between the two modes of representation sometimes seems more
sophisticated than making oneself belief that there are (ontological)
differences that matter. But after all, what matters are aesthetic
differences and that the spectator is enabled to making meaning in
accordance with the aesthetic differences of the material. The use of
archival material is wholly functional, as it is one means to offer an
obvious contrast between two different visual styles or between two modes of
narration. It can be used to make the film more interesting aesthetically,
but as the film becomes more interesting, we are more compelled to attribute
significance to it and to interpret it and to identify (ontological)
differences.
By the way, did anybody mention Woody Allen's *Zelig*. The film might proof
me wrong because there aren't any visual differences: It's really only 'one
reality' because of the film's integration of the main characters into the
documentary material. But instead of visual contrast you have effects of
incongruency, for example Woody Allen being part of a Nazi party convent in
the 30s. But incongruency itself is neither very funny nor very
entertaining, but in this case and in this context helpful in raising a
variety thoughts about the jewishness of Allen, his identity crisis,
history, the holocaust, the wish to change or to manipulate history via
film, etc. It's really an enrichment to the pre-existing reality.
Herbert
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