Download A Body of Vision: Representations of the Body in Recent Film by R. Bruce Elder PDF

By R. Bruce Elder

Elder examines how artists reminiscent of Brakhage, Artaud, Schneemann, Cohen and others have attempted to acknowledge and to exhibit primordial different types of studies. He argues that the try to exhibit those primordial modes of expertise calls for a distinct belief of inventive which means from any of these that presently dominate modern severe dialogue. through transforming theories and speech in hugely unique methods, Elder formulates this new perception. His feedback at the gaps in modern serious practices will most likely develop into the focal point of a lot debate.

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Extra resources for A Body of Vision: Representations of the Body in Recent Film and Poetry

Sample text

The lack of a tightly interrelated system of meanings to support our efforts to reduce shots to propositional assertions so greatly attenuates our habituated tendency to create conceptual closure that, when watching A Movie, we experience examples of what are evidently intellectual montage formally rather than thematically. A clear example occurs about three-quarters of the way through the film: we see two very small fauns nuzzling one another, then a boy, in northwestern African dress, playing a flute for an (apparently) naked girl, lying on the ground before him.

He simply incorporates them into a collage. Furthermore, unlike most collage filmmakers, Conner usually allows his shots to remain onscreen for a long enough time to allow the shot to come into its own, to develop according to its own internal rhythms and its own internal logic. In addition, he makes extensive use of repetition (or repetition with slight variation) so that the viewer becomes familiar and comfortable with the shots and feels disposed to letting them develop each according to its own fashion.

Opening credits, "Produced by Williard Maas" and "Commentary by George Barker," follow the title card. The music ends and close-up images of a body, of torsos (both male and female), appear at first only uncertainly identified to reinforce their androgynous effect. The first of these, which has a different quality than the succeeding images, is an extreme close-up of an eye, an image that also concludes the film. The film uses methods to call our attention to our own activity—that of examining, in extreme detail, the make-up of the body.

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