2015-08-17 17:36 GMT-04:00 Francisco Torres <fjtorre...@gmail.com>:
> ''writing a text on filmic operations which are able to produce knowledge
> about space (itself, without the support of a narration) I ask myself what
> examples this comunity will come up with both for examples of reliable and
> unreliable perceptual information produced through (uncut) camera
> Vorkapich wrote a lot about how framing and composition dealt with that
> This music video illustrates some of those concepts....
> 2015-08-17 5:04 GMT-04:00 fred truniger <fred.truni...@gmail.com>:
>> "In fact, it appears that if he uses all the visual information that is
>> available, there is no way at all of fooling a moving observer once we let
>> him determine his own movements." (Julian Hochberg, In: Perception
>> (Englewood Cliffs, 1964). 94.)
>> dear frameworkers
>> writing a text on filmic operations which are able to produce knowledge
>> about space (itself, without the support of a narration) I ask myself what
>> examples this comunity will come up with both for examples of reliable and
>> unreliable perceptual information produced through (uncut) camera movement.
>> classical: pans show the context of an initial shot and thus help to
>> pigeonhole the space shown. there are thousands of examples in which the
>> parallax produced by lateral movement helps the viewer to read the
>> structure and depth of a space. by contrast, the very slow and very short
>> lateral movement in Johan Lurf's films reconnaissance (AUT 2012) and
>> embargo (AUT 2014) as well as in volko kamensky's film oral history (GER
>> 2009) produce alienation much more than clarification. my guess is, the
>> reason for this to be the speed of the movement: too high, to slow will
>> produce an uneasiness which counteracts the legibility of the movement. but
>> in lurf's case the use of long focal lenght contributes to the effect.
>> lateral movment and long focal length together make an interesting
>> combination. it seems to withhold from the viewer some of the information
>> needed "to determine his own movements". the same is true for the
>> combimation of frontal camera movement and zooming at the same time - but
>> zooming, of course, is not a very usual physical perception of my body.
>> any suggestions for similar or objecting examples? the simpler the
>> (combination of) movements, the better.
>> thank you all!
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