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Which clippings match 'Cinematic Conventions' keyword pg.1 of 2
11 JULY 2013

Isidore Isou's influential Venom and Eternity

"This experimental film ('Venom and Eternity') by Isidore Isou constitutes the Letterist manifesto of film. Rejecting film conventions by 'chiseling' away at them, Isou introduced several new concepts, including discrepancy cinema where the sound track has nothing to do with the visual track. In addition, the celluloid itself was attacked with destructive techniques such as scratches and washing it in bleach. Causing a scandal at the 1951 Cannes Film Festival, this film was later introduced in the United States where it influenced avant–garde film makers such as Stan Brakhage."

(Internet Archive)

Fig.1 Isidore Isou (1951). Traité de bave et d'éternité. Venom And Eternity.

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1951 • anarchism • artistic expressionavant-garde cinemaavant-garde film maker • bleach • celluloidcinema • cinema is dead • cinematic conventionsconventionsdeath of cinemadeath of the authordeface • destructive techniques • discrepancy cinema • Eric Rohmer • experimental filmformal workformalismGuy Debord • influential practitioners • influential worksInternet Archive • Isidore Isou • Jean Cocteau • letterist manifesto • lettrism • lettrist movement • Maurice Scherer • rejectionRomanian • Romanian filmmaker • scratches • situationism • situationistStan Brakhagestock footagesync sound • Venom and Eternity (1951)

CONTRIBUTOR

Simon Perkins
09 JUNE 2013

Lady in the Lake: the dramatic effect of subjective point of view

"Robert Montgomery drehte 'Lady in the Lake' 1947 nach einem Plot, das Raymond Chandlers gleichnamigen Roman adaptierte. In diesem Spielfilm verfolgen Beobachter die Handlung aus der Perspektive des Detektivs Philip Marlowe: Personen, die sich Marlowe zuwenden und mit ihm sprechen, wenden sich der Kamera zu. Das wirkt in Filmvorführungen im Kino, als wenden sie sich in den Projektionsraum und sprechen die Zuschauer an. Der Beobachter wird zugleich ins Bildgeschehen durch die szenische Konstellation hineingezogen (Immersion), wie auf die Grenze zwischen Filmraum und Projektionsraum verwiesen, da er im Filmraum nicht selbst handeln kann, sich aber wie Marlowe im Bildraum verortet. Marlowe bleibt ein anderer, meist unsichtbarer Körper, der aber sieht und den Anschluss des Beobachters an seine Wahrnehmung einfordert: Die Kamera verleiht ihren Beobachtern einen szenischen Kontext, in den Kinozuschauer sich versetzen können. Sie stossen dabei sowohl auf Vorgaben (wie Marlowe spricht) wie auf Fehlstellen (das Sichtbare von Marlowes Auftreten, wenn er nicht in einen Spiegel schaut)."

(Thomas Dreher, IASLonline)

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1947 • Audrey Totter • black and whitecamera anglecinematic conventionscinematic language • cinematic space • crime fictiondetective storyfilm languagefilm noirfirst-person point of viewformal conceit • hardboiled • hardboiled detective • IASLonline • immersionLady in the Lake (1947)perspective view • Philip Marlowe • point of viewPOV • Raymond Chandler • Robert Montgomery • screen space • subjective shot • subjective viewpoint • visual conceit • visual depictionvisual language

CONTRIBUTOR

Simon Perkins
05 AUGUST 2012

Hannah Starkey: reconstructed scenes from everyday life

"Using actors within carefully considered settings, Hannah Starkey's photographs reconstruct scenes from everyday life with the concentrated stylisation of film. Starkey's images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic 'in between' moments of daily life with a sense of relational detachment. Her still images operate as discomforting 'pauses'; where the banality of existence is freeze–framed in crisis point, creating reflective instances of inner contemplation, isolation, and conflicting emotion.

Through the staging of her scenes, Starkey's images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey's images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors.

Often titling her work as Untitled, followed by a generalised date of creation, her photographs parallel the interconnected vagueness of memory, recalling suggestions of events and emotions without fixed location or context. Her work presents a platform where fiction and reality are blurred, illustrating the gap between personal fragility and social construction, and merging the experiences of strangers with our own."

(Saatchi Gallery)

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artificeawkwardnessbanalitycinematic conventionscultural appropriationcultural signals • cultural templates • daily lifedetachmentemotionlesseveryday life • fiction and reality • film stylisationframed momentsfreeze frame • Hannah Starkey • in-betweenin-between narratives • inner contemplation • intimacyintrospectionisolation • loitering • momentsnarrative photographynarrative scenesobservationpausephotographyplaceness • regular routines • routineSaatchi Galleryscene reconstructionsettingstagingstylisedsuggestive narrativesvignette • voyeuristic intrusion

CONTRIBUTOR

Simon Perkins
05 AUGUST 2012

A Game with No Rules: rear projected Kiwi short film melodrama

"A trio of future Kiwi screen stars smoke, smoulder, steal – and worse – in Scott Reynolds' serpentine short noir. Kane (Marton Csokas) and his Zambesi–clad woman on the side (Danielle Cormack) set about ripping off Kane's rich wife (Jennifer Ward–Lealand) with bloody results. Writer/director Scott Reynolds and longtime partner in crime, cinematographer Simon Raby, serve notice of their talents – and inspirations – with heady lighting, deliberately shonky back projection, and opening titles right out of Hitchcock [Saul Bass inspired]. Muso Greg Johnson supplies the horns."

(NZ On Screen)

Fig.1 Scott Reynolds/Zee Films (1994), "A Game with No Rules" Aotearoa New Zealand, 35mm 16 minutes.

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CONTRIBUTOR

Simon Perkins
06 MARCH 2012

CINEMA ESSAY: SHALLOW FOCUS, DEEP FOCUS, TRACKING SHOT, ESTABLISHING SHOT

Majestic Micro Movies: Lloyd Fonvielle, James Lester, Kendra Elliot, Joe Griffin and Jae Song.

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a girl and a gunAndre Bazin • big depth of field • black and whitecameracinemacinematic conventionscinematic languagecinematic visual languagecinematographyclapperboardcoherent spacecompositioncontinuity editingdeep focusdepth of fielddepth of the screen spacedesign formalismDOF • establishing shot • figures in spacefilmfilm language • film take • film technique • filmlook • filmmaking • focus of attention • Manny Farber • master shot • medium is the messagemise-en-scenenarrative scenesproductionscenescreen spaceselective focusshallow depth of fieldshallow focus • shot countershot • shot reverse shottracking cameratracking shot • two shot • video essayvisual depictionvisual languagevisual literacyvisual style • wide lens

CONTRIBUTOR

Simon Perkins
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