Fahrenheit 451: passive consumption through audience participation
"When the 'Family' (the television with its 'cousin' announcers and actors) presents an interactive play in which Linda believes she has a role, an actor (Donald Pickering) wearing glasses with thick, black rectangular frames, turns to the camera as it zooms in on him and says, 'What do you think, Linda?'"
(Tom Whalen, Gale Student Resources In Context)
Whalen, Tom. "The Consequences of Passivity: Re-evaluating Truffaut's Fahrenheit 451," in Literature-Film Quarterly, Vol. 35, No. 3, July, 2007, pp. 181(10).
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Simon PerkinsSHARE
Equivalences for written language in visual language?
"The failure of the early surrealist films to communicate the mystery and beauty of life that they sought to express was largely due to an attempt to translate or find equivalences for written language in images or visual language. Artaud alone had an original vision of what cinema should be, but lacked the means to implement it.
--lt is futile to look for an equivalent of written language in visual language -such a translation from one idiom to another is foredoomed to failure. The essence of the visual language should be so presented, and the action should he such that any translation would be out of the question: the visual action should operate on the mind as an immediate intuition'. Antonin Artaud, Preface to 'The Seashell and the Clergyman'."
(Elisabeth H. Lyon)
Elisabeth H. Lyon. "Luis Bunuel: The Process of Dissociation in Three Films," Cinema Journal, Vol. 13, No. 1. (Autumn, 1973), p. 47
Fig.1 Germaine Dulac (1926). 'La Coquille et le Clergyman'
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Simon PerkinsSHARE
