I suppose the Warhol still films and thus all of Gidal’s films are centered on 
the passing of time as real-time and not a representation of compressed time.

Enviado desde Correo<https://go.microsoft.com/fwlink/?LinkId=550986> para 
Windows 10

De: alena williams<mailto:al...@lowculture.com>
Enviado: miércoles, 24 de mayo de 2017 07:32 p. m.
Para: Experimental Film Discussion List<mailto:frameworks@jonasmekasfilms.com>
Asunto: Re: [Frameworks] looking for films, works of expanded cinema, web-based 
projects, and installations

dear john,

i would recommend:

adrià julià, popcorn (2012), 90min

a feature length film capturing the eventual popping of a single kernel of 
corn... stunning

with best wishes,

On 23.05.2017, at 03:13, John Muse <jm...@sonic.net<mailto:jm...@sonic.net>> 
Hive mind!  I’m beginning research on moving image media works that couple and 
complicate the relations between the following events, with an emphasis on the 
time they take: the time-of-the-profilmic-event, the 
time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the 
time-of-the-display-apparatus, and the time-of-the-viewing-experience.

A mouthful, I know!  But these events are relatively autonomous, as we know, 
and ubiquitously so.  Time lapse, slow motion, closed-circuit works and delay 
systems, and even the simplest continuity edit, which purports to build a 
single event for the viewer out of disparate events before the camera, partake 
of this trouble.  But I’m looking for works that critically investigate and 
exploit these relations.  Man with the Movie Camera, of course and as usual, 
made all of these features explicit through undercranking, overcranking, 
animation, jumpcuts, cross-cutting times and spaces, superimpositions, 
split-screens, and the use of the movie house itself.

So many other works from the tradition of experimental film to consider.  
Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, 
and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances.  From the 
conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, 
Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of 
David Claerbout’s works.

Help please!  I’m looking for other canonical materials, especially expanded 
cinema works, and more contemporary efforts, ones that split these relations 
even further: between image capture and image playback, there is processing, 
whether optical and analog or digital: compression schemes, datamoshing, and 
spline morphing, i.e., "bullet time" and other interpolation protocols.

Comments and clarifying questions appreciated.



john muse
visual media scholar
haverford college


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