Monday, February 15, 2010
Mario Banana 1 - |ˈôkwərd|
I haven't felt that uncomfortable in a movie theater since my first advances on a girl in 7th grade during The Wedding Planner starring Jennifer Lopez.
Kiss Response - |kis|
The film that I round myself engaging in or in turn somewhat disengaging in was Warhol's Kiss. As I had mentioned in class I found myself disengaging with the actual mouths and act of kissing. This may be be due to the point someone else brought up about the viewer not seeing the initial point of contact or maybe my own homophobic feelings (not that it bothered my all that much either way). Since we come in the middle of an action and there is now arch or build up I found it easy to forget exactly what I was looking at. I started to characterize each person in the film. The man eating the girls face as aggressive/playful. The Woman in the awkward asian man scene as submissive/shy. The man opening his eyes the entire time in the first homosexual kiss as unsure/curious. Although some of these could be in part of me seeing things that weren't really there I also found other trends forming. I began to label general traits throughout the whole series of kisses as well.The more passive individuals as mention earlier who were often opening their eyes tended to be on the bottom of the kiss, where as the more aggressive tended to be male and took up most of the frame. The positions and framing seemed to be very specific for each couple as well. The more intense kisses were famed very tight and the more awkward or timid seemed to be a long shot length. This stylistic choice really exaggerated each shot differently.
(It is much easier to write these right away hope you my timely manner for this response evens outs my late Jack Smith response Sorry again)
(It is much easier to write these right away hope you my timely manner for this response evens outs my late Jack Smith response Sorry again)
Warhol - |ˈfilmˌmākər|
Callie Angell, “Andy Warhol, Filmmaker”
8. How does Angell characterize the first major period of Warhol’s filmmaking career? What are some of the films from this period, and what formal qualities did they share? What are some significant differences between Sleep and Empire?
Angell firstly describes his early work as minimalistic as most would after watching Sleep or Empire. Each are just extended still shots off a man sleeping and the empire state building. Sleep on runs 5 hours and 21 minutes compared to empires 8 hour intended length.
9. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
Angell described Screen Tests as a "cumulative mode of serial production.” The tests were urscripted shots of the numerous celebrities and artists of the time who were testing to act in Warhol's films. These test became a individual and unique body of work that he continuously recycled for future films.
10. How does Angell characterize the first period of sound films in Warhol’s filmmaking career? Who was Warhol’s key collaborator for the early sound films? What are some of the films from this period and what formal properties did they share?
Angell described this films in some detail. Selection of the camera set up and lighting seemed to be important since most films were shot with one stationary set up. The concept was the skeleton of the film but the performance/improvisation/ chance occurrences were what really shaped these early sound films. Warhol enlisted Ronald Tavel as a screen writer for this period of his filmmaking . His first film was called Hariot which was about a cross dressing man masturbating with a banana, accompanied by spoken word poetry.
8. How does Angell characterize the first major period of Warhol’s filmmaking career? What are some of the films from this period, and what formal qualities did they share? What are some significant differences between Sleep and Empire?
Angell firstly describes his early work as minimalistic as most would after watching Sleep or Empire. Each are just extended still shots off a man sleeping and the empire state building. Sleep on runs 5 hours and 21 minutes compared to empires 8 hour intended length.
9. What role did the Screen Tests play in the routines at the Factory and in Warhol’s filmmaking?
Angell described Screen Tests as a "cumulative mode of serial production.” The tests were urscripted shots of the numerous celebrities and artists of the time who were testing to act in Warhol's films. These test became a individual and unique body of work that he continuously recycled for future films.
10. How does Angell characterize the first period of sound films in Warhol’s filmmaking career? Who was Warhol’s key collaborator for the early sound films? What are some of the films from this period and what formal properties did they share?
Angell described this films in some detail. Selection of the camera set up and lighting seemed to be important since most films were shot with one stationary set up. The concept was the skeleton of the film but the performance/improvisation/ chance occurrences were what really shaped these early sound films. Warhol enlisted Ronald Tavel as a screen writer for this period of his filmmaking . His first film was called Hariot which was about a cross dressing man masturbating with a banana, accompanied by spoken word poetry.
Sunday, February 14, 2010
Artype - |ˈärtsē|
George Maciunas and Paul Sharits seemed to be my favorite Fluxus filmmakers. Their films were more visual and rhythmic. Although films like Yoko Ono's had a subtle sense of rhythm due to the grain of the film with the super slow motion images, I became more engaged with the films that manipulated this exaggeration of the acknowledgement of the the frame rate. George Maciunas's Artype was really interesting to me. He even plays with this idea of frame rate with the title playing each letter of the title in one frame. Without knowing the name of the film before hand if would be easy to miss what the title even was. Althought the film is pretty simple there is a clear sense of rhythm and a build up or climax. The pulsing circle dances around the middle of the frame, switched from white on black to black on white and then seems to explode in miniature circle fractals. Even though the frame before more cluttered with the multiple circle and squares, the pulse and rhythm continues with the fast and slow motion of the shaped flying by the frame. This film also seems to be about positive and negative shape and the relationships they hold. To me this doesn't really seem like a Fluxus film that anyone could make.
Sunday, February 7, 2010
Three 3 : |əˈpäkəˌlips| |ˌpikəˈresk|
Sitney, “Apocalypses and Picaresques”
2. Why does Sitney argue that synechdoche plays a major role in Christopher Maclaine’s The End, and how does the film anticipate later achievements by Brakhage and the mythopoeic form?
As Sitney puts it “the combination of picture and sound at the conclusion of the next episode exemplifies the latter.” The End combines many seemingly unrelated shots and we as the viewer are forced to make the connection thought juxtaposition and the realization that the minor details describe the whole picture. Brahkage uses this same idea in many of his films as well. Breasts represent mountains and then a urn related shot of actual mountains takes on a double meaning. In Dog Star Man We never see the man climbing the mountain directly but throughout context and juxtaposition as well as composite modes we understand that it is happening.
3. What are some similarities and differences between the apocalyptic visions of Christopher Maclaine and Bruce Conner?
Both filmmakers explored the idea of an apocalyptic message in the form of experimental film. Conner was an artist and sculptor before he became involved with film. His films were very much an extenuation from his collage work. He used found footage to create his filmic structures as opposed to Maclaine.
4. Why are the films of Ron Rice (The Flower Thief) and Robert Nelson (The Great Blondino) examples of Beat sensibility and what Sitney calls the picaresque form?
Sitney describes these films as having elements of the ironic, absurd, anarchistic, and infantile. Each film follows the "adventures" of a questionable main character, (The flower Theif ; a wild man and The Great Blondino; a tight rope walker). Both films seems to have a beginning and end but the middle could be extended inevitably. Both films embrace "the rejection of social aspects of film."
Bruce Jenkins, “Fluxfilms in Three False Starts.”
5. How and why were the “anti-art” Fluxfilms reactions against the avant-garde films of Stan Brakhage and Kenneth Anger. [Hint: Think about Fluxus in relation to earlier anti-art such as Dada, and Marcel Duchamp's "Fountain."]
For every movement there is an equal and opposite anti-movement. These film developed in a way to combat the high art, elitist avant-garde stereotype that was become more popular. Dada art developed to poke fun at the art world and create absurdist art in a time these artists believed was becoming insane. Fluxfilms were similar in the way they used humor to satire their counter parts.
6. What does Jenkins mean by the democratization of production in the
Fluxfilms?
Fluxfilms were criticizing and parodying a mode of film production that was extremely personal and often starred the filmmaker himself/herself. The film combated the physical form as well as this means of production. If a art film was personal and anti- art film must be democratic. This 'anti-art' idea was shared by a number of people and create by them as a group.
7. Why does Jenkins argue that Nam June Paik’s Zen for Film “fixed the material and aesthetic terms for the production of subsequent Fluxfilms”? How does it use the materials of the cinema? What kind of aesthetic experience does it offer?
Jenkins the first screening of Zen for Film was the birth of Fluxfilm. Sesequent films were then able to get around production cost, lights, sets,editing, sound. The aesthetic of the film was constantly evolving. Although to most people this film was 'nothing', the dust, scratches, and other imperfections became the only details one could comprehend while watching the film. Because this film accentuates only these micro details, its is literally never the same film upon multiple viewings.
2. Why does Sitney argue that synechdoche plays a major role in Christopher Maclaine’s The End, and how does the film anticipate later achievements by Brakhage and the mythopoeic form?
As Sitney puts it “the combination of picture and sound at the conclusion of the next episode exemplifies the latter.” The End combines many seemingly unrelated shots and we as the viewer are forced to make the connection thought juxtaposition and the realization that the minor details describe the whole picture. Brahkage uses this same idea in many of his films as well. Breasts represent mountains and then a urn related shot of actual mountains takes on a double meaning. In Dog Star Man We never see the man climbing the mountain directly but throughout context and juxtaposition as well as composite modes we understand that it is happening.
3. What are some similarities and differences between the apocalyptic visions of Christopher Maclaine and Bruce Conner?
Both filmmakers explored the idea of an apocalyptic message in the form of experimental film. Conner was an artist and sculptor before he became involved with film. His films were very much an extenuation from his collage work. He used found footage to create his filmic structures as opposed to Maclaine.
4. Why are the films of Ron Rice (The Flower Thief) and Robert Nelson (The Great Blondino) examples of Beat sensibility and what Sitney calls the picaresque form?
Sitney describes these films as having elements of the ironic, absurd, anarchistic, and infantile. Each film follows the "adventures" of a questionable main character, (The flower Theif ; a wild man and The Great Blondino; a tight rope walker). Both films seems to have a beginning and end but the middle could be extended inevitably. Both films embrace "the rejection of social aspects of film."
Bruce Jenkins, “Fluxfilms in Three False Starts.”
5. How and why were the “anti-art” Fluxfilms reactions against the avant-garde films of Stan Brakhage and Kenneth Anger. [Hint: Think about Fluxus in relation to earlier anti-art such as Dada, and Marcel Duchamp's "Fountain."]
For every movement there is an equal and opposite anti-movement. These film developed in a way to combat the high art, elitist avant-garde stereotype that was become more popular. Dada art developed to poke fun at the art world and create absurdist art in a time these artists believed was becoming insane. Fluxfilms were similar in the way they used humor to satire their counter parts.
6. What does Jenkins mean by the democratization of production in the
Fluxfilms?
Fluxfilms were criticizing and parodying a mode of film production that was extremely personal and often starred the filmmaker himself/herself. The film combated the physical form as well as this means of production. If a art film was personal and anti- art film must be democratic. This 'anti-art' idea was shared by a number of people and create by them as a group.
7. Why does Jenkins argue that Nam June Paik’s Zen for Film “fixed the material and aesthetic terms for the production of subsequent Fluxfilms”? How does it use the materials of the cinema? What kind of aesthetic experience does it offer?
Jenkins the first screening of Zen for Film was the birth of Fluxfilm. Sesequent films were then able to get around production cost, lights, sets,editing, sound. The aesthetic of the film was constantly evolving. Although to most people this film was 'nothing', the dust, scratches, and other imperfections became the only details one could comprehend while watching the film. Because this film accentuates only these micro details, its is literally never the same film upon multiple viewings.
Dog Star Man Response - |dôg| |stär| |man|
I have seen a lot of Brakhage in my career here at UNCW and I have to say I really love anything he does. I have never been to sure why or really questioned it but when I started thinking about this response I felt that I needed to think a little harder about my reasons. I have never seen Dog Star Man in it's entirety but after watching the prelude I will make sure I do as soon as possible. I know a lot of people in the class seem like Brakhage in small doses but I want to experience his longer work in full. I found myself traveling through the layers and shapes and transitions from hand painted animation to live action film, with all the imperfections beautifully on display for all to see. I was not lost in a bad way. In a longer film (even thought we only watched the prelude) you get a feeling for the flow of the images on screen in a much more complete manner. I really like the transitions from shot to shot. Many were smooth and even matched graphically. I noticed a lot of circles or semicircles cut off from the frame. I also began to notice the abrupt changes such as the section where the emulsion has almost violently been scratched away the film. I think Brakhage put this film together in such a way to let you get lost and then abruptly pull back or stop the eye from being confused or overwhelmed. I think I would be able to more effectively explain why I like Brakhage a little more now. .. I think..
Monday, February 1, 2010
number 2 - |ˈnəmbər|
Sitney, “The Lyrical Film”
1. While Brakhage’s Reflections on Black is a trance film, why does Sitney argue that it anticipates the lyrical film?
Sitney called Rflections on Black a move toward "the cinema of triumphant imagination." This film focuses on a physicality of a blind mans vision represented visually on film. Sidney claims this was a a transitionally period for Brakhages work in some part due to him moving to New York.
2. What are the key characteristics of the lyrical film (the first example of which was Anticipation of the Night).
In a lyrical film we assume that the view of the camera is the point of view of the protagonist instead of actually seeing him/her on screen. We the viewer experience what they see and the camera movement is made to represent actual human sight. Lyrical film also reject the idea of being a window into illusion (juxtaposition, plot set up, on screen dialogue, etc.)
3. Which filmmaker was highly influential on Brakhage’s move to lyrical film in terms of film style, and why?
Joeseph Cornell was a surrealist collagist who gave Brakhage many new opportunities to shoot subjects that could be represented in this lyrical kind of way. He was very supportive of Brakhage's work.
4. What does Sitney mean by "hard" and "soft" montage? What examples of each does he give from Anticipation of the Night? {Tricky question; read the entire passage very carefully.]
A soft montage usually deals with colors and movements. its a more impressionistic approach to a montage. A hard montage would be more representational of reality.
5. What are the characteristics of vision according to Brakhage’s revival of the Romantic dialectics of sight and imagination? [I’m not asking here about film style, I’m asking about Brakhage’s views about vision.]
Film creates a system of 'viewing' images that make it easy for audiences to comprehend. In no way is this system truly reminiscent of human sight. Brakhage calls the camera eye a liar.
Sitney, “Major Mythopoeia”
6. Why does Sitney argue, “It was Brakhage, of all the major American avant-garde filmmakers, who first embraced the formal directives and verbal aesthetics of Abstract Expressionism.”
7. What archetypes are significant motifs in Dog Star Man, and which writers in what movement are associated with these four states of existence?
This film explores Romanticism is several ways. for example Nature consciousness,sexuality and vision obviously. Dog star Man is influenced by Blake's four realms of existence.
Sitney, "The Potted Psalm"
[This is an addition to the syllabus. After reading the introductory paragraphs, focus on the discussions of The Cage and Entr'acte (p. 47-54 and The Lead Shoes (p. 68-70).]
8. According to Sitney, what stylistic techniques are used to mark perspective and subjectivity in The Cage, and why is this an important development in the American avant-garde film?
Peterson actually has a separate camera man hired for the filming of The Cage. This allowed a more focused cinematophers touch to the film which had not been seen in more Avant-Qarde film up to this point.
9. For Sitney, what are the key similarities and differences between Entr'acte and The Cage?
Both film manipulated image through camera tricks and stop motion filmmaking, yet the cage is more of a free form art film, as opposed to the agenda and message or Entr'acte. It is more of a Dada film, using paper cutouts and the stop motion technique is more prevalent.
10. How does Peterson synthesize the seemingly incongruent suggestions of his Workshop 20 students into The Lead Shoes?
Peterson takes control of the film after all is said and done. I think he more so used the suggestion with a grain of salt to stay within the perameters of his own new of the film as a whole.
11. Compare your response to The Lead Shoes with the descriptions by Sitney and Parker Tyler.
Sitney's description is more contextual and covers the film as a whole. I picked out certain points of the film and described them in depth to represent my feeling for the film as a whole. I think my response may be a bit more negative in some ways.
1. While Brakhage’s Reflections on Black is a trance film, why does Sitney argue that it anticipates the lyrical film?
Sitney called Rflections on Black a move toward "the cinema of triumphant imagination." This film focuses on a physicality of a blind mans vision represented visually on film. Sidney claims this was a a transitionally period for Brakhages work in some part due to him moving to New York.
2. What are the key characteristics of the lyrical film (the first example of which was Anticipation of the Night).
In a lyrical film we assume that the view of the camera is the point of view of the protagonist instead of actually seeing him/her on screen. We the viewer experience what they see and the camera movement is made to represent actual human sight. Lyrical film also reject the idea of being a window into illusion (juxtaposition, plot set up, on screen dialogue, etc.)
3. Which filmmaker was highly influential on Brakhage’s move to lyrical film in terms of film style, and why?
Joeseph Cornell was a surrealist collagist who gave Brakhage many new opportunities to shoot subjects that could be represented in this lyrical kind of way. He was very supportive of Brakhage's work.
4. What does Sitney mean by "hard" and "soft" montage? What examples of each does he give from Anticipation of the Night? {Tricky question; read the entire passage very carefully.]
A soft montage usually deals with colors and movements. its a more impressionistic approach to a montage. A hard montage would be more representational of reality.
5. What are the characteristics of vision according to Brakhage’s revival of the Romantic dialectics of sight and imagination? [I’m not asking here about film style, I’m asking about Brakhage’s views about vision.]
Film creates a system of 'viewing' images that make it easy for audiences to comprehend. In no way is this system truly reminiscent of human sight. Brakhage calls the camera eye a liar.
Sitney, “Major Mythopoeia”
6. Why does Sitney argue, “It was Brakhage, of all the major American avant-garde filmmakers, who first embraced the formal directives and verbal aesthetics of Abstract Expressionism.”
7. What archetypes are significant motifs in Dog Star Man, and which writers in what movement are associated with these four states of existence?
This film explores Romanticism is several ways. for example Nature consciousness,sexuality and vision obviously. Dog star Man is influenced by Blake's four realms of existence.
Sitney, "The Potted Psalm"
[This is an addition to the syllabus. After reading the introductory paragraphs, focus on the discussions of The Cage and Entr'acte (p. 47-54 and The Lead Shoes (p. 68-70).]
8. According to Sitney, what stylistic techniques are used to mark perspective and subjectivity in The Cage, and why is this an important development in the American avant-garde film?
Peterson actually has a separate camera man hired for the filming of The Cage. This allowed a more focused cinematophers touch to the film which had not been seen in more Avant-Qarde film up to this point.
9. For Sitney, what are the key similarities and differences between Entr'acte and The Cage?
Both film manipulated image through camera tricks and stop motion filmmaking, yet the cage is more of a free form art film, as opposed to the agenda and message or Entr'acte. It is more of a Dada film, using paper cutouts and the stop motion technique is more prevalent.
10. How does Peterson synthesize the seemingly incongruent suggestions of his Workshop 20 students into The Lead Shoes?
Peterson takes control of the film after all is said and done. I think he more so used the suggestion with a grain of salt to stay within the perameters of his own new of the film as a whole.
11. Compare your response to The Lead Shoes with the descriptions by Sitney and Parker Tyler.
Sitney's description is more contextual and covers the film as a whole. I picked out certain points of the film and described them in depth to represent my feeling for the film as a whole. I think my response may be a bit more negative in some ways.
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