de Sica's *Umberto D*. Well, you raised the question of time. It wasn't motion or clock time, as if you would be interested in seeing second hands.
Or maybe time can only be appreciated when you are, well, doomed. It's almost over for you. On Wed, May 24, 2017 at 8:19 PM, Jorge Lorenzo Flores Garza < jorgelore...@hotmail.com> wrote: > 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 <al...@lowculture.com> > *Enviado: *miércoles, 24 de mayo de 2017 07:32 p. m. > *Para: *Experimental Film Discussion List <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, > > alena > > > On 23.05.2017, at 03:13, John Muse <jm...@sonic.net> wrote: > > 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. > > j/PrM > > ************************************************* > > john muse > visual media scholar > haverford college > he/him/his > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > http://haverford.academia.edu/JohnMuse > > ************************************************* > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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