DOCSLIB.ORG

Ode to Amiel: a Micro-Budget Experimental Essay Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ode to Amiel: a Micro-Budget Experimental Essay Film University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2015 Ode to Amiel: A Micro-budget Experimental Essay Film Phyllis Redman University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Redman, Phyllis, "Ode to Amiel: A Micro-budget Experimental Essay Film" (2015). Electronic Theses and Dissertations, 2004-2019. 1297. https://stars.library.ucf.edu/etd/1297 ODE TO AMIEL: A MICRO-BUDGET EXPERIMENTAL ESSAY FILM by PHYLLIS REDMAN B. A. McNeese State University, 1985 M.A. Southeast Missouri State University, 1995 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Film in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2015 Major Professor: Christopher Harris © 2015 Phyllis Redman ii ABSTRACT Ode to Amiel is a feature-length experimental essay film by Phyllis Redman, made as part of the requirements for earning a Master of Fine Arts in Film in the Entrepreneurial Digital Cinema track from the University of Central Florida. The film explores one woman's reaction to trauma and depersonalization disorder through the journal entries of 19th Century Swiss philosopher, Henri Frederic Amiel. Passages from Amiel's Journal Intime provide the narrative and voice over for the lead character, a grieving mother who finds herself locked behind an inescapable, invisible and immaterial barrier that separates her from the outside world. Following the guidelines of the film program, the film was produced on a micro-budget (under $50,000) level. The goal was to create a film that was effectively a no-budget film, one similar in process to that of Tarnation, an award-winning experimental film created for $200. With an actual shooting cost of under $1,000, Ode to Amiel met this challenge. This is the record of the film's progression from development to picture lock, in preparation for distribution. iii ACKNOWLEDGMENTS I would like to thank the faculty and staff of the University of Central Florida's film program as well as my fellow cohorts in the program. In particular I would like to thank Christopher Harris, my thesis chair. His guidance and expertise enabled me to explore artistic dimensions that I would not have envisioned. Additionally, I would like to express my gratitude to my Thesis Review Board members: Ula Stoeckl, Steve Schlow, Jason Burrell, Lori Ingle, and Dr. Michael Strawser. Their careful consideration of my proposal helped steer me away from potential problems and toward a more carefully considered film. iv TABLE OF CONTENTS LIST OF FIGURES .......................................................................................................... vii CHAPTER 1 INTRODUCTION ........................................................................................1 Filmmaker’s Statement ............................................................................................1 Intentions and Challenges ............................................................................1 CHAPTER 2 EVIDENCE OF AESTHETIC LITERACY ..................................................4 Literature Review.....................................................................................................4 The Essay Film ............................................................................................4 Depersonalization Disorder .........................................................................9 Partial Screening List .............................................................................................13 CHAPTER 3 EVIDENCE OF FINANCIAL LITERACY ................................................15 Complete Budget with Assumptions .....................................................................15 Business Plan .........................................................................................................16 Changes to Business Plan ......................................................................................26 Final Cost Report ...................................................................................................28 CHAPTER 4 EVIDENCE OF PRODUCTION LITERACY ............................................29 Theory of Production .............................................................................................29 Production Literature Review ................................................................................32 Production Timeline...............................................................................................34 The Film in Still Images ........................................................................................35 APPENDIX A TREATMENT ...........................................................................................39 Rationale/Thesis .....................................................................................................40 Approach ................................................................................................................40 Script ......................................................................................................................42 Script Notes ................................................................................................43 APPENDIX B BUDGET AND FINAL COST REPORT .................................................70 Ode to Amiel Budget .............................................................................................71 Final Production Cost Report.................................................................................72 APPENDIX C MARKETING AND DISTRIBUTION PLAN .........................................73 Film Festivals .........................................................................................................74 Online Marketing ...................................................................................................75 Lectures ..................................................................................................................75 APPENDIX D CREDIT LIST ...........................................................................................77 APPENDIX E CONTRACTS AND AGREEMENTS ......................................................79 v REFERENCES ..................................................................................................................87 vi LIST OF FIGURES Figure 1. Partial screening list (Part 1) ......................................................................................... 13 Figure 2. Partial screening list (Part 2) ......................................................................................... 14 Figure 3. Budget page 1 ................................................................................................................ 15 Figure 4. Budget page 2 ................................................................................................................ 16 Figure 5. Budget page 3 ................................................................................................................ 17 Figure 6. Budget page 4 ................................................................................................................ 18 Figure 7. Budget page 5 ................................................................................................................ 19 Figure 8. Budget page 6 ................................................................................................................ 20 Figure 9. Budget page 7 ................................................................................................................ 21 Figure 10. Budget page 8 .............................................................................................................. 22 Figure 11. Budget page 9 .............................................................................................................. 23 Figure 12. Budget page 10 ............................................................................................................ 24 Figure 13. Budget page 11 ............................................................................................................ 25 Figure 14. Final cost report ........................................................................................................... 28 Figure 15. Woman filming at the lake .......................................................................................... 35 Figure 16. Amiel appears in a vision at the lake. .......................................................................... 35 Figure 17. Woman peers from windows of home at night ........................................................... 36 Figure 18. Visions of Gracie Anna appear in the waves at the lake ............................................. 36 Figure 19. One of many vultures stands guard in the yard ........................................................... 37 Figure 20. Amiel is camera-aware ............................................................................................... 37 Figure 21. Overlays of multiple images .......................................................................................
Load more

Recommended publications
  • Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
    Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20).
    [Show full text]
  • Pacific Film Archive
    Lee Amazonas • GUERRILLA CINEMATHEQUE COMES OF AGE: THE PACIFICE FILM ARCHIVE GUERRILLA CINEMATHEQUE COMES OF AGE THE PACIFIC FILM ARCHIVE Lee Amazonas This whole thing is put together with spit, chewing gum, good intentions, coop- eration from the film community and overhead paid by the Museum. I’m not over-budget or under-budget because I haven’t got a budget. —Pacific Film Archive founder Sheldon Renan in a February 1971 interview FOR AN INSTITUTION WITH SUCH A JERRY-BUILT INCEPTION, the Pacific Film Archive (PFA) has not done too badly for itself as it progresses through its fourth decade of exist- ence. The numbers tell a small part of the story: a permanent collection of over 10,000 films and videos (stored in temperature- and humidity-controlled vaults); a study center whose holdings include more than 7,600 books on film history, theory, criticism, and reference, 150 international film periodical titles, over 95,000 clipping files, 36,000 film stills, and 7,500 posters; and an exhibition program of approximately 500 film presentations each year serving an audience of over 50,000 viewers from the Berkeley campus and around the Bay Area. Beyond statistics, it is the magnificent array of programs the Pacific Film Archive of- fers that provides a broader understanding of this vital institution. Many audience members and professionals throughout the film archive com- munity would agree that the exhibition program at PFA is among the most richly varied and com- prehensive shown anywhere, presenting avant- garde and experimental film, classic Hollywood, international cinema (from Iran to Finland to China to Brazil), video art, silent film, ethno- graphic film, and more.
    [Show full text]
  • Richard A. Sherman Pennsylvania State University 124 Carnegie
    Richard A. Sherman Pennsylvania State University 124 Carnegie Building, University Park, PA 16802 (W) 814.865.9208 (C) 814.404.9276 [email protected] EDUCATION M.F.A., Film, Ohio University 1999 B.S., Art, James Madison University 1991 ACADEMIC APPOINTMENTS Associate Professor, Pennsylvania State University 2010-present Assistant Professor, Pennsylvania State University 2004-2010 Assistant Professor, Pittsburgh Filmmakers 2002-2004 Visiting Assistant Professor, Ohio University 1999-2002 Graduate Teaching Assistant, Ohio University 1997 COURSES TAUGHT (Graduate, Undergraduate) (U) Advanced Documentary Production (Abroad) (U) Introductory Film Production (U) Intermediate Documentary Production (U) Advanced Documentary Production (U) Intermediate Experimental Production (U) Advanced Experimental Production (U) Intermediate Narrative Production (U) Advanced Narrative Production (U) Intermediate Cinematography (U) Advanced Cinematography (G) 1st Year Film Production (G) 2nd Year Film Production (G) 3rd Year Thesis Film Production (G) Advanced Cinematography GRANTS AND AWARDS • Institute for the Arts and Humanities, Individual Faculty Grant, 2015-16 • Other Israel Film Fund, Film Finishing Grant, 2012 • Institute for the Arts and Humanities, Individual Faculty Grant, 2010 • Deans’ Excellence Fund, College of Communications, funding support, 2009 • Deans’ Excellence Award for Research & Creative Accomplishments, College of Communications, University Park, PA, 2006-2007 • Don Davis Program in Ethical Leadership, funding support, 2009 • Excellence in Teaching Award, Alumni Society Board, College of Communications, 2007 • President’s Future Fund, Pennsylvania State University, funding support, 2009 • Summer Research Grant, College of Communications, 2005, 2006, 2007, 2008, 2009 • Individual Artist Fellowship Award, Ohio Arts Council, Columbus, OH, 2003 1 • Individual Artist Fellowship Award, Virginia Museum of Fine Arts, Richmond, VA, 1997 FILMOGRAPHY The Saucer That Wasn’t There (2018-19).
    [Show full text]
  • Independent Cinema in the Chinese Film Industry
    Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China.
    [Show full text]
  • Film Outside Cinema
    FILM OUTSIDE CINEMA Catherine Rogers A thesis submitted in partial fulfillment of the requirements of the Royal College of Art for the Degree of Master of Philosophy October 2013 COPYRIGHT STATEMENT This text represents the submission for the degree of Master of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgment. 2 ABSTRACT Cinema and film are terms that have been inextricably linked since the Lumière brothers showed their first motion picture Workers Leaving The Lumière Factory in Lyon in 1895. It is difficult to conceive of one without the other. According to film theorist Jonathan Walley, the vanguards of ‘paracinema’ (such as Anthony McCall and Tony Conrad) have tried to release cinema from the medium specificity of film with works that prioritise time and light, arguing for a cinema without film. The question this project proposes is: can film exist outside cinema? This MPhil by project is led by a direct approach to creating the film image using experimental filmmaking techniques. A series of experiments will look at subject (time, motion, representational imagery) and context (location, site of the pro-filmic). The studio outcomes will lead to a critical and philosophical inquiry into theories of time, duration and movement through Henri Bergson and Mary-Ann Doane, assessing how this relates to the notion of what cinema is via André Bazin. A series of installations will demonstrate the tension between the visible and invisible by capturing motion using lensless apparatuses, against a desire to see simultaneous moments of time all at once with a material that divides and segments time.
    [Show full text]
  • Course Outline Moorpark - FILM M41
    Course Outline moorpark - FILM M41 I. CATALOG INFORMATION A. Discipline: FILM STUDIES B. Subject Code and Number: FILM M41 C. Course Title: Directors and Genres D. Credit Course units: Units: 3 Lecture Hours per week: 3 Lab Hours per week : 0 Variable Units : No E. Student Learning Hours: Lecture Hours: Classroom hours: 52.5 - 52.5 Laboratory/Activity Hours: Laboratory/Activity Hours 0 - 0 Total Combined Hours in a 17.5 week term: 52.5 - 52.5 F. Non-Credit Course hours per week G. May be taken a total of: X 1 2 3 4 time(s) for credit H. Is the course co-designated (same as) another course: No X Yes If YES, designate course Subject Code & Number: I. Course Description: Provides a focused study on the careers of selected cinema and media "auteurs" (directors) and examines their body of work in artistic, social, historical, and industrial terms. Examines recurring genres, themes, motifs, techniques, and aesthetic choices that define various directors' signature visual styles. J. Entrance Skills *Prerequisite: No X Yes Course(s) *Corequisite: No X Yes Course(s) Limitation on Enrollment: No X Yes Recommended Preparation: No Yes X Course(s) FILM M10 Other: No X Yes file:///E/Courses/FILM%20M41%204335%20(Outline%20Update,%20Fall%202015).htm[4/23/2019 12:58:29 PM] Course Outline moorpark - FILM M41 K. Other Catalog Information: II. COURSE OBJECTIVES Upon successful completion of the course, a student will be able to: Methods of evaluation will be consistent with, but not limited by, the following types or examples. Objective quiz or exam explain the major concepts of "auteur theory" and "genre theory" 1 Short written exercise and apply them to various directors' films and other media.
    [Show full text]
  • The Italianisation of Bollywood Cinema: Ad Hoc Films
    The Italianisation of Bollywood Cinema: ad hoc films Abstract The relationship explored by this article is the one between Italy and popular Hindi cinema wherein the films of Bollywood have undergone a profound change in form and narrative structure absorbing, through a collage of images, traces of the Italian inheritance of its cinema. This phenomenon is studied as framed by Bergson’s theory of time and with the technique of collage and the textual dismemberment that Bollywood films undergoes while approaching the Italian screens. The analysis of how Bollywood cinema reaches Italy and the current use that the Italian entertainment industry makes of Bollywood texts (by adapting these texts for the national audience) is pivotal to understanding how, on the one hand Bollywood has been targeted for cultural and aesthetic changes, and on the other hand how the encounter of this industry with the European panorama has its own specificities. Through the analysis of one specific case study, the Ashutosh Gowariker’s Jodhaa Akbar, which function as example among other Bollywood films screened in Italy, it will be highlighted how the Bollywood films, when filtered by the Italian entertainment industry produces ad hoc films, which re-frame the globalization of this Indian industry. Bio Dr. Monia Acciari completed her PhD at the University of Manchester, UK. After her PhD, she has been a Teaching Fellow at Swansea University. Currently, she is an Honorary Research Associate within the Department of Languages Translation and Communication at the Swansea University, UK. Her research interests are in Popular Hindi cinema, Contemporary Indian Indi Films, Coproduction Italy-India, Film Festival Studies, Film and Emotions, Cinema and other Performing Arts, Screen Genre, Diasporic and Transnational Media, Entertainment in Places of War, and Qualitative Research Methods applied to Popular Culture.
    [Show full text]
  • Note Sul Choreocinema Di Maya Deren
    Vito Di Bernardi “A continuous awakening movement”. Note sul choreocinema di Maya Deren Interrotta dalla morte prematura, la breve carriera di cineasta di Maya Deren (1917-1961) appare attraversata dalla visione di un cinema posseduto dalla danza e concepito come una coreografia di immagini in movimento. Il termine “posseduto” usato qui in senso ovviamente metaforico – può la danza infatti possedere il cinema? – ci riconduce ad un fatto reale e concreto, quello della iniziazione della cineasta al vudù haitiano e alla trance religiosa, un’esperienza da lei definita con lo splendido ossimoro di «bianca oscurità» 1. La sua ricerca spirituale e artistica di una «trance vissuta» e non «recitata» – per usare le catego- rie care a Michel Leiris 2 – segnò in maniera pervasiva un percorso artistico in cui cinema, danza e rito s’incontrarono sul terreno comune delle relazioni tra mondo visibile e invisibile. La psicanalisi, il surrealismo, l’antropologia, le filosofie orientali, furono per Deren tutti passaggi fondamentali perla costruzione di una lingua cinematografica altra, non convenzionale, che faceva un «uso creativo della realtà» e che soprattutto operava una «manipolazione del tempo e dello spazio» 3. I film di Maya Deren, pioniera del cinema americano d’avanguardia, sono il risultato diunosti- le antinaturalistico e antinarrativo. Il suo è un cinema che quando ha per oggetto la danza, come in A Study in Choreography for Camera (1945), Ritual in Trasfigured Time (1946), The Very Eye of Night (1952-55), non cerca mai di rappresentarla, raccontarla, documentarla. Questi film sono per molti ver- si concettuali, posseggono una qualità danzante e si potrebbero accostare a ciò che William Forsythe avrebbe molti anni dopo chiamato - riferendosi all’arte digitale – «oggetti coreografici», luoghi alterna- tivi dove persiste visibilmente l’organizzazione dei principi coreografici 4.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Katrin Pesch Writing Sample
    Pesch, Katrin. "No No Wave." Text for Film Program curated for Now and 10 Years Ago - On the Relationship between Cultural Production and Urban Development, curated by Axel John Wieder, Stefan Dillemuth and Josef Strau, Kunstwerke Berlin, 2004. No No Wave - Film Notes A Selection of Films Produced in New York between 1978-1986 This cultural construction ‘bohemia’ is continuously carbonated by music, film, television, and advertising, window-dressed for sale in cycles of generation and appropriation that, while decades old, have become increasingly sophisticated and entangled, even vivified, with irony. Nonetheless, people still live for this fugitive and often-prostituted ideal, understanding themselves as revolutionaries, criminals, and whores. Bohemia contains real aspiration and real human stories – the raw material of narrative art.1 The short film Not a Warhol Factory by David Blair documents an installation and performance of artist Mike Bidlo, which was presented in 1984 at P.S. 1 in Long Island City, New York. Photocopied or silk-screened Marylins hang on the walls. The rooms themselves are populated with people whose appearance and costumes simultaneously reference the ‘fun-chic’ of the early eighties and the glamour of Warhol's Factory. Bidlo himself strolls through the screen as Warhol; someone else wears a Marilyn Monroe dress. All of those present mimic various roles - revolutionaries, criminals, and whores - from a chapter in the script of the avant-garde, which has already been commercialized and become a part of the canon of art history. Tropes of underground, stardom, art and commerce are played upon here - half in love, half tauntingly, rather foolishly yet with much energy.
    [Show full text]
  • Avant-Garde Sinema Üzerine
    SİNEMA KİTAPLIĞI AVANT-GARDE SİNEMA ÜZERİNE Bu eser http://genclikcephesi.blogspot.com tarafından yayınlanmaktadır. http://genclikcephesi.blogspot.com 1 İÇİNDEKİLER: Önsöz Jonas Mekas’ın Manifestosu Avant Garde Sinema İçin Bir Genelleme Çalışması Avant Garde Üzerine Önsözümsel Bir Deneme Sanat Sineması ve Avangarda Genel Bakış Avant Garde Sinemada Kübik Açı Avant Garde Sinemada Soyut Film Çalışmaları Avant Garde Sinemada Gerçeküstücü Göz Luis Bunuel ve Gerçeküstücü Sinema Düşler ve Sinema Bunuel Düşler ve Sinema 1929-1933 Arasında Luis Bunuel ve Gerçeküstücülük Un Chıen Andalou-Endülüs Köpeği Gerçeküstücülük ve Gerçeküstücüler L’Age D’or-Altın Çağ 1930’larda Avant Garde Sinemanın Durumu Avangard’da Yeni Dalga Avangard’da Psikodrama “Yeraltı” Üzerine Andy Warhol Sinemasına Kısa Bir Değini Avangard’ın Klasikleşmiş Yönetmenleri İçin Düşümler A.B.D Avant Garde Sineması Amerika’da Yeraltı ‘Öncü’leri ve ‘Canyon’ Grubu Son Değini Babında Ek I: Bazin'in Kurgunun Tarihsel Gelişimine Yönelik Görüleri ve Eisenstein'ın Kurgusuna Minimal bir değini http://genclikcephesi.blogspot.com 2 I. BÖLÜM AVANT-GARDE SİNEMA ÜZERİNE GENELLEME ÖNSÖZ DİYELİM Kİ SADECE GERÇEKLİĞİN SINIRLARINI DENİYORDUM. NELER OLACAĞINI MERAK ETTİM. HEPSİ BU: SADECE MERAK. JIM DOUGLAS MORRISON, 1969. Bir şekilde ‘sinema’ adını almış olan yaşam-tarzı [evet, bir sanatın çokça ötesinde] benim için hep ‘avant garde’ ön takısıyla beraberleşip; ‘avant garde sinema’ adına bürünmüştür, ya da ters bir anlamla ben, her sinema dediğimde ve ya ondan bahsettiğimde muhakkakki avant garde olandan yani -dahası- tek olan, aslolan sinemadan bahsetmişimdir. Deneysellik sadece sinema sanatının temel taşlarının mekanik sürecinde ve sonrasında; film çekimlerinde varolan -yaşayan- bir şey miydi, elbette ki değildi, varoluş; başladığı andan itibaren, öncesi ve ölümün getireceği sonralıkla ve yaşam sürüldüğü zaman dilimi boyunca, tamamı ile ve tüm anlamıyla bir deneysellik idi zaten.
    [Show full text]
  • Cinema Comparat/Ive Cinema
    CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri
    [Show full text]