for research purposes
Pause is just a click away. The fact that on our devices we can pause a film whenever we want makes us forget how unsettling this actually is. Thinking about how dangerous it once has been when the images come to halt should help us to see this practice as subversive. The ability to pause … Practices of Viewing II: Pause weiterlesen
Fast forwarding – nothing is as despised and as omnipresent among those in love with cinema. But what if we consider the speeding up of film as a reflexive practice that connects contemporary media consumption with the experimental beginnings of cinema before standardization. Instead of making our viewing quicker the acceleration of moving images can … Practices of Viewing I : F.FWD weiterlesen
In digital video, keyframes are those images which serve as anchoring points for all the other images. By removing them the video becomes unstable. A digital automaton working against cinema’s obsession. The film’s images which have turned female body into fetish shall no longer hold. A video essay on Alfred Hitchcock’s VERTIGO, inspired by the … Key / Frame weiterlesen
When watching this moment Ulrike Ottinger’s FREAK ORLANDO (1981) I always felt to be part of it and wished I could literally enter the film. Now I did.
Just one image to work on. No cuts. No explanatory words. Just gestures.
It felt right when working on the very first image from HIROSHIMA MON AMOUR. An image that I keep touching upon without ever being able to grasp it.
A cat video of a different sort. Following a cat in Alfred Hitchcock leads to other cats and other films, to radical politics and the trouble with the gaze.
Testing self-destruction. Archival images of an atom bomb test in 1955 preempt what 1970s cinema will imagine. Two pieces of uncannily similar footage illuminate and contaminate each other. [When preparing a lecture on 1950s cinema and culture I came across the eerie footage of tests by the US Atomic Energy Commission from 1955 which … Cued weiterlesen
Reading a moment from A STAR IS BORN (USA 1954) The combination of what is irreconcilable, the transition from the self to the other, the shiver between continuity and discontinuity – that is the task of philosophy. And that is the art of one of Hollywood’s greatest philosophers: Judy Garland.
What is there to see when characters turn their back on us? Back views in cinema are experienced as disturbances of their visual regime. But by hiding the faces these images point towards another presence, both familiar and uncanny to us all: there’s an off-space we all carry with us but can never look at … Reproduction Interdite weiterlesen
An essay in (un)readability. Just one novel, filmed countless times. Just one shot, watched countless times. They make me aware of how every act of reading is threatened by its reversal, the inability to understand and how repeating the same words only long enough renders them illegible. The text and the shot, turned in my … Unfold weiterlesen
Sound as matter, sculpted by the videographer’s hand. A scene from an old classic: The femme fatale’s hand touches a dangerous box. Stop the scene and she’s touching a different object – the elusive and ungraspable object of sound. Her gestures seem to mirror my own videographic practice: my fingers on the keyboard transform the … TOUCHING SOUND weiterlesen
Jerry Lewis‘ philosophy of video: Lewis‘ comedy of playback is also a meditation on the technology he relied on in the production of his films. Looping a scene from Lewis‘ film „The Patsy“ (1966) shows how the loops of the electronic video signal are included in the very illusion they helped to fabricate. The mise-en-abyme … Endless Regression weiterlesen
A man is getting cornered. The past is closing in, thightening its grip… A detail in Jacques Tourneur’s „Out of the Past“ (USA 1947) becomes visible as metaphor. For the film’s story… …and it’s mise-en-scène.
Watching John Ford …with Jean Epstein. Approaching the materiality of film …through the faces of its stars.
As far as I know, Stanley Cavell never wrote about the films of John Cassavates. But I always thought that Cassavetes’ films, so distinctly american, concerned with the ordinary and so jazzy in rhythm would speak to this thinker of the american, of the ordinary and who himself started out as a jazz musician. But … Cavell / Cassavetes weiterlesen