Kapitel Zwei: Live Cinema ist eine neue mediale Sprache aus den Bausteinen vorhandener Konzepte

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Actually the most descriptive term for the new cinema is "personal" because it's only an extension of the filmmaker's central nervous system. Actually the most descriptive term for the new cinema is "personal" because it's only an extension of the filmmaker's central nervous system.
 +
 +100: Schofill has developed a method of A-B-C-roll editing for super-
 +impositions, adapted from Karel Reisz's methods of cutting single
 +footage.19 It's a rhythmic concept, that is, a shot is divided into
 +definite kinetic "beats." The kinetic activity begins, reaches a middle
 +point, and ends. In triple superimpositions, the corresponding
 +rhythms of each piece of film are matched, fading in and out without
 +abrupt cuts.

Revision as of 15:55, 28 May 2006

Expanded Cinema Page 81:

Time, said St. Augustine, is a threefold present: the present as we experience it; the past as present memory; the future as present expectation. Hopi Indians, who thought of themselves as caretakers of the planet, used only the present tense in their language: past was indicated as "present manifested," and the future was signified by "present manifesting.”6 Until approximately 800 B.C., few cultures thought in terms of past or future: all experience was synthesized in the present. It seems that practically everyone but contemporary man has intuitively understood the space-time continuum.

82: Actually the most descriptive term for the new cinema is "personal" because it's only an extension of the filmmaker's central nervous system.

100: Schofill has developed a method of A-B-C-roll editing for super- impositions, adapted from Karel Reisz's methods of cutting single footage.19 It's a rhythmic concept, that is, a shot is divided into definite kinetic "beats." The kinetic activity begins, reaches a middle point, and ends. In triple superimpositions, the corresponding rhythms of each piece of film are matched, fading in and out without abrupt cuts.

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