It's fine. I'm sorry, I don't take interest in the question. On Wed, Jun 10, 2020 at 5:37 PM John Muse <jm...@sonic.net> wrote:
> Hi, Bernard. I often teach a Film on Photography course and just as often > include Memento in the syllabus… only to remove it. Have you taught it? > How does it work for students? > > Thanks! > > j > > > On Jun 10, 2020, at 4:49 PM, Bernard Roddy <roddy...@gmail.com> wrote: > > > > Dear Albert: > > > > This is a nice invitation to read (I quote it below). For me it leaves > too much to consider. I had two reactions.First, I have been interested in > conceptual art's use of photography. Under these terms we would have to > impose a "post-photographic" restriction on what constitutes acceptable > examples in your list. I would submit a short list of classic texts written > by artists for publication in 1969 and 1970. > > > > But I also just taught a course in which I used standard narrative > cinema in order to think about traditional philosophical material. And the > film, Memento, became interesting for reasons having nothing to do with any > experimental film. > > > > Or so it would appear. One could undertake a whole research agenda in > which the role of memory in the understanding of shot relationships is > explored. This concerns the experience of the spectator when the questions > concern the order of events and their causal relationships. In his Matter > and Memory Henri Bergson was preoccupied by 19th century research that > involves brain lesions. Bergson uses results in neurophysiology to confirm > his hypotheses about memory. > > > > But it was in order to get a handle on Deleuze's reference to the memory > image that I found myself reading Bergson. Deleuze is extremely casual with > terminology, but Bergson isn't. What Deleuze means by the memory image and > the time image can only be appreciated, of course, by reviewing a history > of narrative cinema. But what Bergson means when he discusses research into > memory disorders can be appreciated by any artist working with images that > replicate perception. > > > > In Memento Leonard takes instamatic photographs that are developed > before his eyes. They are only part of his basis for deciding what he will > do in the future, but as images fixed on paper they make possible repeated > experience of the circumstances of some past event. > > > > Why burn a photograph documenting something you did? What is the > significance of a character's understanding of the value of a photograph > for the understanding that a spectator has of the plot? > > > > Bernie > > > > > > - - - - - - > > Hello all, > > > > I was making a list of experimental film practices on photography and I > was > > wondering if you could suggest more titles. > > > > At first I wanted to focus just on movies where photographs are deleted > > (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis > > Frampton and the project *Found Monochromes* by David Batchelor (slides). > > Does anyone know other films where the main purpose is the destruction or > > the invisibility of photographs? > > > > On the other hand I have started a list of films made from photographs. > > There are dozens of films (some of them animations) where the object of > > analysis are still images, from filmed Polaroids to appropriation of > > advertising images from magazines or the accumulation of digital images > > found on the internet: > > > > *Transformation by Holding Time* by Paul de Nooijer > > *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler > > *Production Stills* by Morgan Fisher > > *Frank Film* by Frank Mouris > > *Boy Meets Girl* by Eugènia Balcells > > *Wall *by Takashi Ito > > *Photodiary *by Takashi Ito > > *Clandestine Porn Film* by Augustin Gimel > > *DIES IRAE* by Jean Gabriel Périot > > *The World as Will and Representation* de Roy Arden > > > > Do others come to mind? > > > > Thank you, > > Albert Alcoz > > > > _______________________________________________ > > FrameWorks mailing list > > FrameWorks@jonasmekasfilms.com > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > j/PrM > > > ************************************************* > > Take care; be well; wash your hands; safeguard all the distances! > > John Muse > Assistant Professor of Visual Studies > Haverford College > he/him/his > j=John PrM=Professor Muse > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > https://haverford.academia.edu/JohnMuse > https://www.instagram.com/johnmuseartist/ > https://www.facebook.com/jmuse99 > > ************************************************* > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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