Speaking of Meshes of the Afternoon, I have a question to throw out to the list. One shot has always bugged me, because as far as I know, Deren and Hammid made this film entirely on their own, filming each other. Deren even made her own clothes (they do not look dated in the 1940s, as his do). The shot that bugs me is the only one in which you see both of them: he stretches out his hands to pull her out of the chair. Maybe it's not his hands, or maybe someone else is filming; the camera is not on a tripod. Any ideas?
- Pip Chodorov At 15:26 -0500 25/02/12, David Tetzlaff wrote: > >(I've always found it odd that despite all of it's sophisticated >optical effects, "Meshes of the Afternoon" was not A-B rolled, and >hot-splice overlaps are visible throughout. I've wondered if this >was just a matter of expediency, or if there was aesthetic purpose >-- maintaining markers of the 'handmade' or 'artisanal'?? Not that >Deren and Hammid's purpose really matters: results read as they >read. I've just never been able to figure out how this little >element integrates with the other things I see in the film.) _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
