Of course, as a co-editor of F-P, I admonish myself for not resetting the subject heading of my last email!
Damian
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From: Film-Philosophy Salon on behalf of Sutton, Damian
Sent: Wed 7/11/2007 12:26
To: [log in to unmask]
Subject: Re: FILM-PHILOSOPHY Digest - 10 Jul 2007 (#2007-220)[Scanned-Clean]
These are really good points.
I'd completely forgotten Warhol and I've just written a chapter about My Hustler and Empire.
Given their multiple reels, neither My Hustler nor Empire are 'one-shot' films but Blow Job, Eat, Henry Geldzahler and all the screen tests certainly are.
Funny, we've all assumed that the original question meant ONE CONTINUOUS TAKE, and have gone by that, discounting Hitchcock's Rope and sticking with a structuralist/materialist definition. I took it to mean a total absence of editing, despite the limitations of the film reels, but there you go. So I would say that Rope, Empire, Haircut, etc. are all one-shot films, if not actually one reel films. I think we have to enter into the spirit of the filmmaking.
Even so, despite continued references to it, Wavelength remains neither a one shot nor a one-take film.
best
Damian
________________________________
From: Film-Philosophy Salon on behalf of Markos Hadjioannou
Sent: Wed 7/11/2007 12:03
To: [log in to unmask]
Subject: Re: FILM-PHILOSOPHY Digest - 10 Jul 2007 (#2007-220)[Scanned-Clean]
Actually, with an extended 16mm reel you can achieve a single shot of about 30 minutes,
as in Warhol's My Hustler. But a 35mm reel will only give you about 11 minutes.
The issue with the digital is that the terms of editing change,
so that even though Sokurov's Russian Ark claims to be one shot,
it consists of a large number of digital imaging processes in post-production.
Typically, though, I do think you could avoid these changes,
examples of which can be found not only on YouTube,
but on any camera recording streets, ATMs and such.
Markos Hadjioannou,
PhD Student,
Film Studies,
King's College London
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