On Mar 6, 2012, at 2:52 PM, David Tetzlaff wrote: > This is why I said the museum model is way more workable for moving > image work of celluloid 'original'. If you shoot in 1080P, the only > difference between the 'original' and the 'reproduction' is the > compression artifacting in the distribution copy, which is hardly > enough to support art-object status. But if you can turn film-film > into a reasonable facsimilie of an auratic art object, there's your > source of income....
This is kind of the crux of the matter. The filmmaker could then have renewed justification for working in precious (expensive) celluloid to produce an artifact that would be of high value as a potential museum owned commodity. The museum would then own a unique one of kind work of cinema art which would likely last longer than some digital file. This original (or an internegative depending on how sticky or fugtive that first original might be), would be purchased by the museum and would become the source for whatever level of reproduction both celluloid or digital. The museum would have exclusive rights, the same as a multimillion dollar painting they owned. The film screenings of the perfect (one of kind) print in the perfect theater would be the equivalent of seeing an original painting and perhaps would generate a serious audience depending on how it was promoted through an "educational" process and promotions which the dvd reproductions and associated literature could inspire. I do not see any reason why a rejuvenated large audience for "art" film could not be generated this way from amongst the hordes of museum goers. Of course there is the matter of just how many humans out there really have the cognitive perceptual physiology to handle some experimental aspects of avant garde cinema. Anyone can walk by a painting liking it or not, but sitting in a darkened room as a captive audience may not have quite as many dedicated fans, they would at least know something from experiencing the dvd "reproduction". They could go to the shows of the work they think they "get", and maybe some will even learn to venture outside of just "knowing what they like and liking what they know" and learn to break through to experience cinema as something other than escapist entertainment. Myron Ort _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
