Diogenes’ Lab

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  mstalcup 08:06:08 am on March 10, 2009 | 0 | # |
  Tags: composition, film, genre, media

  I think this would be fun/productive to look through together in class. Any interest?

  “In Immemory, Chris Marker has used the format of the CD-Rom to create a multi-layered, multimedia memoir. The reader investigates “zones” of travel, war, cinema, and poetry, navigating through photographs, film clips, music, and text, as if physically exploring Marker’s memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our digital era. With it, Marker has both invented a literary form and perfected it.”

  A review of the CD-ROM by Guillaume Ollendorff
   
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  kevinkarpiak 01:06:16 am on March 10, 2009 | 2 | # |
  Tags: composition, ethnography, film, method, music, soundtrack

  Part of my interest in movie scores, as a few of you will know, is that I think of ethnographic writing, or composition, in terms of movie soundtracks… an insight that only starts the conversation, in that there are so many ways to score a film.

  In light of the recent hullabaloo over the use of music in the new The Watchmen movie, and of my own re-discovery of both Wicker Park soundtracks, I’ve been thinking about the ways soundtracks can be sometimes overly dissonant with the movies themselves: there can be bad movies with good soundtracks, bad soundtracks for good movies, and instances where music and movie just don’t “fit”. Maybe we can use this “bad” examples to think about the ethnographic composition. So I guess I’m asking: what would be on your top 10 list of “dissonant” movie soundtracks, and why? What, if anything, can we learn from this “dissonance”?
   
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  mstalcup 01:43:30 am on March 9, 2009 | 0 | # |
  Tags: film, media

  some Notes on Cinematography (1950-1958) by Robert Bresson

  • Metteur-en-scene, director. The point is not to direct someone, but to direct oneself.
  • Two types of film: those that employ the resources of the theater (actors, direction, etc.)
    and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create.
  • ‘CINEMATOGRAPHY’ IS A WRITING WITH IMAGES IN MOVEMENT AND WITH SOUNDS.
  • Cinematographic film, where expression is obtained by relations of images and of sounds, and not by a mimicry done with gestures and intonations of voice (whether actors’ or non-actors’). One that does not analyze or explain. That recomposes.
  • An image must be transformed by contact with other images, as is a color by contact with other colors. A blue is not the same blue beside a green, a yellow, a red. No art without transformation.
  • The truth of cinematography cannot be the truth of theater, nor the truth of the novel, nor the truth of painting. (What the cinematographer captures with his or her own resources cannot be what the theater, the novel, painting capture with theirs.)
  • To set up a film is to bind persons to each other and to objects by looks.
  • To create is not to deform or invent persons and things. It is to tie new relationships between persons and things which are, and as they are.

  View this document on Scribd
   
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  lfearnley 07:30:18 am on March 1, 2009 | 0 | # |
  Tags: film, media

  “Yet if the reader has time on his hands, the viewer has none. On the page the argument always begs to be interrupted, read again, savored, retraced and understood anew. The literary essay more clearly than the novel or even the poem hints at the fact that readings that do not set up a second, a third, an nth repeat do not qualify as true readings. . . . Films, as we know, live another life entirely. In the darkness of the theater in which they are meant to be seen, we cannot interrupt their flow, let alone retrace it. Their images are less appearances than disappearances, each inexorably leaking into another, their sounds passing to sounds.” Excerpt from Jean-Peirre Gorin, “Proposal for a Tussle.” But what of the website?
   

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