Paul Sharits' T,O,U,C,H,I,N,G certainly references Un Chien Andalou and the idea of the cut as a violent assault on the eye. I think both films actually mock the Kuleshov effect by actually presenting the slash one way or another. Un Cien Andalou doesn't stop the cutting after the cloud slashes the moon and Sharits yuxtaposes the cut when both images run frantically one after the other at 24 frames per second.
> From: [email protected] > To: [email protected] > Date: Thu, 29 Oct 2015 21:24:32 +0000 > Subject: Re: [Frameworks] The eye in experimental cinema > > Guy Sherwin's series of eye-films > Olle Hedman's Coca strip > > > > > 29 okt. 2015 kl. 21:39 skrev Ryder White <[email protected]>: > > > > Hello Frameworkers, > > > > I am currently embarked on designing an installation the draws on cinematic > > instances of the human eye and, as I write about it, I'm interested in > > finding examples of the eye as a major symbolic device, particularly in the > > realm of experimental and avant-garde cinema. I can think up a couple of > > examples...Man With The Movie Camera, for instance, or Un Chien Andalou, > > but I'd be happy to hear of other such appearances. > > > > If it helps narrow the (admittedly broad) field, of particular interest are > > examples where the eye is used to refer to the cinematic apparatus itself, > > or the camera's voyeur qualities. > > > > Thanks in advance! > > > > Ryder > > _______________________________________________ > > FrameWorks mailing list > > [email protected] > > https://mailman-mail5.webfaction.com/listinfo/frameworks > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks
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