Hi everyone,
nice to see so many responses maybe I should think about a conference on the topic. Of course Gene Youngblood is right in
pointing out the relation between duree and time, I think most people would see that as a starting point for any discussion of
this topic. Nevertheless I still contend that some film makers are deliberately making films in response to the hegemonic form,
isn't this part of the debate that produces the dynamic of film history. Angelopolous' 'Ulysses' Gaze' for instance unfolds at a
particular pace in order for the viewer to contemplate space in the manner in which the protagonist experiences it, or at least
this is how it works for me, similarly the opening of Herzog's 'Heart of Glass' which at one point (paradoxically) I think the
actual film is speeded up, begins by insinuating the viewer into the shepherd's vision through the slow forward movement of the
camera, and what about new film makers such as Reygadas, aren't all these people trying to induce a sense of the contemplative
into the experience of cinema, something, judging by my experiences at local cinemas, that is a radical response to movies such as
Die Hard 4.0, not that this type of film doesn't have its pleasures, clearly they do.
Anyway, time waits for no one.
peace
alan
A. Fair
IDS
Before acting on this email or opening any attachments you
should read the Manchester Metropolitan University's email
disclaimer available on its website
http://www.mmu.ac.uk/emaildisclaimer
*
*
Film-Philosophy salon
After hitting 'reply' please always delete the text of the message you are replying to.
To leave, send the message: leave film-philosophy to: [log in to unmask]
Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html
For help email: [log in to unmask], not the salon.
*
Film-Philosophy journal: http://www.film-philosophy.com
Contact: [log in to unmask]
**
|