Dear Gene, I'm thinking of *Suddenly, last summer* by Mankiewicz. At the end of the film, the protagonist played by Elizabeth Taylor is finally recalling the horrible memory she was repressing. When she arrives at the climax of her narrative, her face is superimposed on the right side of the memory scene. And it's a beautiful and very powerful piece of cinema.
Good luck for your work, Marie Eve Le jeu. 23 avr. 2020 à 12:14, Gene Youngblood <ato...@comcast.net> a écrit : > Friends, some of you know my wife Jane and I have been working on a study > of George Kuchar’s video diaries for more than ten years. We want to > complete it by the end of this year, but we keep discovering new things in > the seemingly bottomless depths of the 232 works. We seek the help of > Frameworks Hive Mind in explicating the most recent one. It has to do with > signifiers of memory. > > Summon this: the protagonist’s head is in profile at the right edge of the > frame. We see only the front half of his or her head, leaving maximum space > in the rest of the frame for what he or she is remembering. > > That’s the ideal image we need to find. Others would suffice. The position > of the head could be flipped from right edge to left, or even to the top, > looking down on memory. Or the protagonist could be centered in the frame, > addressing the camera, while memory plays out around her. > > In fact, *anything* remotely like these examples could be useful, whether > from conventional narratives or experimental works. If experimental, we’ll > probably need someone to supply the image. We need at least three examples, > preferably more, to convincingly make our point. > > Thanks in advance for your kind assistance. Be well. > > > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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