I was actually thinking of Christopher Maclaine's films in the context of
this discussion, particularly *The End*, which has many sort of transitory
shots that don't seem to participate directly in the film and seem sort of
marginal but then later stand out (to me at least) as the most memorable
and powerful images in the film. Luther Price's films—particularly his
recent 16mm found footage films—have a lot of these moments as well—single
shots which have been inserted that seem really really alien and
"other"—like shots you can't even imagine the original context for—that
just drop in and out (once) like rude evil impish commentary from another
dimension. Maybe it won't mean much to many but examples include: shot of a
guy (looks like Lee Oswald) getting a haircut in *Silk* and weird
finger-to-finger sex gesture in *Dipping Sause*. Also the way Price might
include a single shot seemingly randomly placed upside-down (e.g. in *Nice
Biskotts*) in an otherwise right-side up stream of repetitive loopings...
Steve Polta
On Sat, Jan 26, 2013 at 10:29 AM, Fred Camper <f...@fredcamper.com> wrote:
> Quoting Andy Ditzler <a...@andyditzler.com>:
>
> > Hello,
> >
> > Consider the brief close-up appearance of the cockatoo around the last
> > third of Citizen Kane. Cut to bird, loud bird shriek on soundtrack, then
> > back to the story. Welles' purpose in this odd cutaway was to wake up the
> > audience, exactly as Tom Whiteside describes with his experience. ("It
> has
> > a sort of purpose, but no meaning" - reference on p. 72 of This Is Orson
> > Welles.) I suspect other singularities, at least in the novel use of them
> > by Hollywood, have a similar purpose/effect.
>
> There's a little problem with this: just after the screaming bird
> flies away, Kane's second wife, who had felt imprisoned in Xanadu,
> leaves him.
>
> Two masterpieces of what I have called "destructive cutting," in which
> shots detract or subtract from or even "divide" previous shots in
> opposition to both classical Hollywood's "additive" editing and
> Eisensteinian montage, are Christopher Maclaine's "The End" and Ron
> Rice's "Senseless."
>
> Fred Camper
> Chicago
>
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