...each spectator creates an image along the
representational guidance suggested by the author, leading him/her unswervingly
towards knowing and experiencing the theme in accordance with his/her own
personality, in his/her own individual way, proceeding from his/her own
experience, from his/her own imagination, from the texture of his/her
associations, from the features of his/her own character, temper, and social
status.
- Sergei Eisenstein, Notes of a Film Director
The following
films were created to do many things… but, most of all, they were intended to
experiment with what the director/maker understood to be the very character or
objective of film making. Through
them, the spectator is challenged; he/she is asked to comprehend not only the
work itself but to understand reality differently.
You will be assigned one of these films to
study and diagram:
Charles Scheeler and Paul Strand, Manhatta, 1921
László Moholy-Nagy, Berliner
Stilleben, 1926
Joseph Cornell, Rose
Hobart, 1936
Maya Deren and Alexander Hamid, Meshes of the Afternoon, 1943
Bruce Conner, A Movie,
1958
Peter Tscherkassky, Outer
Space, 1999
Eve Sussman, 89
Seconds at Alcázar, 2004
Alessandro Cima, Detective City Angel, 2011
For this
analysis, begin by watching the film a number of times: looking to understand
the narrative, the visual qualities, the emotions that it might try to evoke,
etc. Following this, do some
research on the author(s) of the film and find any information that you can
find that describes and elucidates it; see if this information matches what you
understood the film to be about or its intention.
No comments:
Post a Comment