By Justin Remes
Conducting the 1st complete examine of movies that don't movement, Justin Remes demanding situations the primacy of movement in cinema and checks the theoretical limits of movie aesthetics and illustration. analyzing experimental movies akin to Andy Warhol's Empire (1964), the Fluxus paintings Disappearing track for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he indicates how immobile movies defiantly show off the static whereas collapsing the bounds among cinema, images, portray, and literature.
Analyzing 4 different types of static film--furniture movies, designed to be seen in part or distractedly; protracted motion pictures, which use tremendous sluggish movement to provoke stasis; textual movies, which foreground the static reveal of letters and written phrases; and monochrome movies, which show a box of monochrome colour as their image--Remes maps the interrelations among circulate, stillness, and length and their worry of cinema's traditional functionality and results. Arguing all motion pictures spread in time, he indicates period is extra basic to cinema than movement, beginning clean inquiries into film's manipulation of temporality, from rigidly dependent works to these with extra ambiguous and open-ended frameworks. Remes's dialogue integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and should entice scholars of movie concept, experimental cinema, intermedia stories, and aesthetics.
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Additional info for Motion(less) Pictures: The Cinema of Stasis (Film and Culture Series)
Like Satie, he used to be dedicated to the price of artistic endeavors which may be attended to casually and intermittently, works which may be tasted instead of digested. As Satie passionately asserted, “A guy who has no longer heard ‘Furniture track’ doesn't understand happiness. ”105 One is tempted to assert an analogous of the furnishings movie. three STASIS IN FLUXUS Disappearing song for Face and persistent Cinema Is the flight of a butterfly tune? —MILAN KNÍŽÁK The face is a veritable megaphone. —GILLES DELEUZE AND FÉLIX GUATTARI within the Fluxus movie Disappearing song for Face (based on an idea through Mieko Shiomi) the spectator is faced via a unmarried static shot of a mouth filmed in black and white (see determine three. 1). when you consider that lots of the face falls open air the shot, the mouth dominates the monitor. The shot is deliberately off-center, and for this reason, purely the left facet of the face (including the cheek and a well-liked dimple) is seen. The mouth is frozen into an open smile, revealing an important hole among front the teeth. mins cross. not anything turns out to alter. One starts off to wonder whether the paintings is not anything greater than a filmed photo, because it turns out without any lines of flow (apart from the circulation instructed through the imperfections of the movie stock). After numerous mins, even if, a mild swap turns into visible. The smile remains to be there, however it turns out much less said. One can't aid yet query this notion, on account that at no element has the mouth (or anything within the mise-en-scène) moved—or has it? may well it's that observing this static face for a long time period has produced the semblance of swap? After approximately 5 mins, it turns into more and more glaring that the mouth (which belongs to Yoko Ono) has been relocating, albeit at a cost too sluggish to be perceived. (As Scott MacDonald describes it, “Viewers by no means truly see Ono’s mouth movement; they simply see that it has moved. ”)1 The smile is sort of long past now, leaving just a hint of Ono’s unique excitement; it truly is evocative of the compelled half-smiles that regularly look in relatives pictures. a number of mins later, the smile has light fullyyt, as has the dimple at the left cheek. The mouth continues to be a bit of open, however the tooth can slightly be noticeable. 11 mins into the movie, teeth have disappeared and the mouth that when smiled now curves a bit of downward, in a pose that may be learn as both impartial or depression. The face is by surprise changed by means of a black monitor, and the movie is over. determine three. 1 George Maciunas and Mieko Shiomi, Disappearing song for Face (Fluxfilm no. four; 1966). (The Museum of contemporary artwork, manhattan, new york. The Gilbert and Lila Silverman Fluxus assortment present. electronic photograph � The Museum of contemporary artwork / approved by way of Derek Jarman, Blue 1 (1993). as well as being attention-grabbing, unusual, and (as Tony Conrad asserts) “beautiful,” Disappearing song for Face screens an insistence on stasis that used to be ubiquitous not just within the works of Mieko Shiomi yet within the works of Fluxus artists extra ordinarily. 2 during this bankruptcy i'm going to try to map out the cultured and temporal dimensions of protracted motion pictures, works that (like Disappearing tune) use severe sluggish movement to create the notion of stasis.