Materiality and Discourse - Revision history

Kzxpr: /* Abstract film in popular culture */

2020-01-09T22:35:55Z

Abstract film in popular culture

Kzxpr: /* Abstract film in popular culture */

2019-12-27T20:25:54Z

Abstract film in popular culture

Kzxpr: /* Abstract film in popular culture */

2019-12-27T20:23:16Z

Abstract film in popular culture

Kzxpr: /* Abstract film in popular culture */

2019-12-27T20:21:22Z

Abstract film in popular culture

Kzxpr at 20:39, 25 December 2019

2019-12-25T20:39:11Z

Kzxpr: /* Experimental film discourses */

2019-12-25T20:32:31Z

Experimental film discourses

Kzxpr: /* Experimental film discourses */

2019-12-25T20:30:47Z

Experimental film discourses

Kzxpr: /* Og omvendt - teknikker kan også arves fra andre domæner */

2019-12-25T20:30:25Z

Og omvendt - teknikker kan også arves fra andre domæner

Kzxpr: /* Abstract film in popular culture */

2019-12-25T20:22:27Z

Abstract film in popular culture

Kzxpr at 20:18, 25 December 2019

2019-12-25T20:18:47Z

Show changes

← Older revision		Revision as of 22:35, 9 January 2020
Line 63:		Line 63:

	== Abstract film in popular culture ==		== Abstract film in popular culture ==
−	<span style="background-color:transparent;color:#000000;">Jordan Belson: “While working diligently as an independent filmmaker within the flourishing West Coast scene, Belson’s visionary cinema caught the eye and imagination of Hollywood, with Donald Cammell making use (with Belson’s permission and an official licensing agreement) of Belson’s imagery for Cammell’s controversial science fiction film </span><span style="background-color:transparent;color:#000000;">'''The Demon Seed'''</span><span style="background-color:transparent;color:#000000;">. Philip Kaufmann went even further by hiring Belson to design key special effect sequences for his rousing bio-pic epic of the first American astronauts, </span><span style="background-color:transparent;color:#000000;">'''The Right Stuff'''</span><span style="background-color:transparent;color:#000000;">. Belson’s wonderful “fireflies” sequence gave form to the cosmic flares seen by John Glenn on his return to Earth, a voyage that had earlier inspired Belson’s remarkable Re-entry.” - </span>[http://hcl.harvard.edu/hfa/films/2012octdec/belson.html http://hcl.harvard.edu/hfa/films/2012octdec/belson.html]<span style="background-color:transparent;color:#000000;"> </span>	+	<span style="background-color:transparent;color:#000000;">[[Jordan Belson]]: “While working diligently as an independent filmmaker within the flourishing West Coast scene, Belson’s visionary cinema caught the eye and imagination of Hollywood, with Donald Cammell making use (with Belson’s permission and an official licensing agreement) of Belson’s imagery for Cammell’s controversial science fiction film </span><span style="background-color:transparent;color:#000000;">'''The Demon Seed'''</span><span style="background-color:transparent;color:#000000;">. Philip Kaufmann went even further by hiring Belson to design key special effect sequences for his rousing bio-pic epic of the first American astronauts, </span><span style="background-color:transparent;color:#000000;">'''The Right Stuff'''</span><span style="background-color:transparent;color:#000000;">. Belson’s wonderful “fireflies” sequence gave form to the cosmic flares seen by John Glenn on his return to Earth, a voyage that had earlier inspired Belson’s remarkable Re-entry.” - </span>[http://hcl.harvard.edu/hfa/films/2012octdec/belson.html http://hcl.harvard.edu/hfa/films/2012octdec/belson.html]<span style="background-color:transparent;color:#000000;"> </span>

@@ Line 64: / Line 64: @@
 == Abstract film in popular culture ==
 <span style="background-color:transparent;color:#000000;">Jordan Belson: “While working diligently as an independent filmmaker within the flourishing West Coast scene, Belson’s visionary cinema caught the eye and imagination of Hollywood, with Donald Cammell making use (with Belson’s permission and an official licensing agreement) of Belson’s imagery for Cammell’s controversial science fiction film </span><span style="background-color:transparent;color:#000000;">'''The Demon Seed'''</span><span style="background-color:transparent;color:#000000;">. Philip Kaufmann went even further by hiring Belson to design key special effect sequences for his rousing bio-pic epic of the first American astronauts, </span><span style="background-color:transparent;color:#000000;">'''The Right Stuff'''</span><span style="background-color:transparent;color:#000000;">. Belson’s wonderful “fireflies” sequence gave form to the cosmic flares seen by John Glenn on his return to Earth, a voyage that had earlier inspired Belson’s remarkable Re-entry.” - </span>[http://hcl.harvard.edu/hfa/films/2012octdec/belson.html http://hcl.harvard.edu/hfa/films/2012octdec/belson.html]<span style="background-color:transparent;color:#000000;">&nbsp;</span>
 {| class="wikitable sortable" style="text-align:center;"
 |- style="border:1pt solid #000000;padding:0.0694in;"
-| style="color:#000000;" | '''Titel'''
+! Titel !! Year !! Director !! Anvendelse/discourse
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | Seven

@@ Line 225: / Line 225: @@
 | style="color:#000000;" | 1982
 ||
-|| * Robert Abel
+|| * [[Robert Abel]]
-* Chris Casady
+* [[Chris Casady]]
 * Tim Burton
-* [Richard 'Doc' Baily] (systems programmer: Robert Abel and Associates)
+* [[Richard 'Doc' Baily]] (systems programmer: Robert Abel and Associates)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | Star Wars
 | style="color:#000000;" | 1977
 ||
-|| * Adam Beckett (rotoscoping, including R2D2 shot by Jawas sequence)
+|| * [[Adam Beckett]] (rotoscoping, including R2D2 shot by Jawas sequence)
 * John Dykstra (motion-controlled camera - inspireret af John Whitney og Don Trumball)
 * Chris Casady
-* Larry Cuba (Death Star-video)
+* [[Larry Cuba]] (Death Star-video)
-* Don Trumball
+* [[Don Trumball]]
-* Pat O’Neill’s optiske printer
+* [[Pat O’Neill]]'s optiske printer
-* Scanimate (Death Star-sigtekorn)
+* [[Scanimate]] (Death Star-sigtekorn)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Bill & Ted's Bogus Journey
 || 1991
 || Pete Hewitt
-|| * [Richard 'Doc' Baily] (digital effects: ed, video Image)
+|| * Richard 'Doc' Baily (digital effects: ed, video Image)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Disclosure
 || 1994
 || Barry Levinson
-|| * [Richard 'Doc' Baily] (computer graphics animator (uncredited))
+|| * Richard 'Doc' Baily (computer graphics animator (uncredited))
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || The Game
 || 1997
 || David Fincher
-|| * [Richard 'Doc' Baily] (digital animation supervisor/producer)
+|| * Richard 'Doc' Baily (digital animation supervisor/producer)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Blade
 || 1998
 || Stephen Norrington
-|| * [Richard 'Doc' Baily] (digital animation supervisor/producer) (Image Savant)
+|| * Richard 'Doc' Baily (digital animation supervisor/producer) (Image Savant)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Fight Club
 || 1999
 || David Fincher
-|| * [Richard 'Doc' Baily] (digital animation supervisor/producer) (Image Savant)
+|| * Richard 'Doc' Baily (digital animation supervisor/producer) (Image Savant)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Battlefield Earth
 || 2000
 || Roger Christian
-|| * [Richard 'Doc' Baily] (digital animation supervisor/producer) (Image Savant)
+|| * Richard 'Doc' Baily (digital animation supervisor/producer) (Image Savant)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || The Cell
 || 2000
 || Tarsem Singh
-|| * [Richard 'Doc' Baily] (computer animation) (Image Savant)
+|| * Richard 'Doc' Baily (computer animation) (Image Savant)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || One Hour Photo
 || 2002
 || Mark Romanek
-|| * [Richard 'Doc' Baily] (digital animator) (Image Savant)
+|| * Richard 'Doc' Baily (digital animator) (Image Savant)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 || Solaris

@@ Line 225: / Line 225: @@
 | style="color:#000000;" | 1982
 ||
-|| <div style="color:#000000;">Robert Abel</div>
+|| * Robert Abel
+* Chris Casady
-<div style="color:#000000;">Chris Casady</div>
+* Tim Burton
+* [Richard 'Doc' Baily] (systems programmer: Robert Abel and Associates)
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | Star Wars
 | style="color:#000000;" | 1977
 ||
-|| <div style="color:#000000;">Adam Beckett (rotoscoping)</div>
+|| * Adam Beckett (rotoscoping, including R2D2 shot by Jawas sequence)
+* John Dykstra (motion-controlled camera - inspireret af John Whitney og Don Trumball)
-<div style="color:#000000;">John Dykstra - motion-controlled camera (inspireret af John Whitney og Don Trumball)</div>
+* Chris Casady
+* Larry Cuba (Death Star-video)
-<div style="color:#000000;">Chris Casady</div>
+* Don Trumball
+* Pat O’Neill’s optiske printer
-<div style="color:#000000;">Larry Cuba (Death Star-video)</div>
+* Scanimate (Death Star-sigtekorn)
+|- style="border:1pt solid #000000;padding:0.0694in;"
-<div style="color:#000000;">Don Trumball</div>
+|| Bill & Ted's Bogus Journey
+|| 1991
-<div style="color:#000000;">Pat O’Neill’s optiske printer</div>
+|| Pete Hewitt
+|| * [Richard 'Doc' Baily] (digital effects: ed, video Image)
-<div style="color:#000000;">Scanimate (Death Star-sigtekorn)</div>
+|- style="border:1pt solid #000000;padding:0.0694in;"
 |-
 |}
 == ABSTRAKTE TITLES ==

@@ Line 36: / Line 36: @@
 The second division is phenomenological and "extended scope", relating to a broader "visuality" discussion (once again relating to "camera" and "anti-camera" movements). This tendency stems from a tradition of "the scope", which has been a problem since the first close-up. It heightens in the avant-garde, namely with the cinema of Stan Brakhage, and once again the images migrate (the relation between "Dog Star Man" and "Fantastic Voyage" is particularly fun - FV uses Brakhage's kind of optic to show endoscopy, and Brakhage uses endoscopy as optic element).
-This furthermore spills into mainstream as "caustics" in film, e.g. "Bleu", "Marathon Man", "Blade Runner II", [some Besson film] and so on.
+This furthermore spills into mainstream as "caustics" in film, e.g. "Bleu", "Marathon Man", "Die Hard", "Blade Runner II", [some Besson film] and so on.
 Third tendency is "meta-film as Verfremdung" tradition. Both as surreal effects (e.g. in "Duck Amuck" where Daffy walks between frames), political purpose (Godard), and lately also as "retro media" where material markers are used to signify history and/or nostalgia (e.g. in "Shaft" (2019)).

← Older revision		Revision as of 20:32, 25 December 2019
Line 414:		Line 414:
	\|-		\|-
	\|}		\|}
		+
		+	=== Abstraktions-strategier i tidl. exp. film ===
		+
		+	Typiske strategier for at opnå abstraktion er:
		+	* Hurtig klipning
		+	* Nærbillede
		+	* Fotografisk abstraktion (jf. Arnheims differentieringselementer)
		+	** Sort/hvid
		+	** Mangel på lyd
		+	** To-dimensionalitet
		+	* Multi-eksponering

@@ Line 339: / Line 339: @@
 === Experimental film discourses ===
-{| style="border-spacing:0;width:6.6931in;"
+{| class="wikitable sortable"
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | '''Diskurs'''

← Older revision		Revision as of 20:30, 25 December 2019
Line 314:		Line 314:
	* <div style="color:#000000;">John Whitneys maskine stammer fra “air-craft”</div>		* <div style="color:#000000;">John Whitneys maskine stammer fra “air-craft”</div>
	* <div style="color:#000000;"></div>		* <div style="color:#000000;"></div>
		+
		+	== Diskurser i exp. film ==
		+
		+	=== Traditionelle diskurser (jf. "Eyes, Lies and Illusions") ===
		+	* <div style="color:#000000;">Okkult</div>
		+	* <div style="color:#000000;">Videnskabelig</div>
		+	* <div style="color:#000000;">Underholdning/Legetøj</div>
		+
		+
		+	<div style="color:#000000;">Videnskab og underholdnings-dualiteten beskrives også af Jonathan Crary i “Techniques of the Observer” iflg. Egbe & Woodward (p 2)</div>
		+
		+
		+	=== War and cinema ===
		+	* <div style="color:#000000;">Virtual reality on-head-ting var også militær instrument (jf. Oliver Grau’s “Virtual Art”-beskrivelse på Karagarga)</div>
		+	* <div style="color:#000000;">Whitney’s analog computer</div>
		+	* <div style="color:#000000;">Virilio (1997) og Kittler (1999) iflg. Egbe & Woodward (p3)</div>
		+	** <div style="color:#000000;">Optical printer var oprindeligt en masse-produktions-maskine til at sprede propaganda</div>
		+	* <div style="color:#000000;"></div>
		+
		+
		+	=== Black-boxing ===
		+	* <div style="color:#000000;">Bruno...</div>
		+
		+
		+	=== Experimental film discourses ===
		+	{\| style="border-spacing:0;width:6.6931in;"
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| '''Diskurs'''
		+	\| style="color:#000000;" \| '''Beskrivelse'''
		+	\| style="color:#000000;" \| '''Eksempler'''
		+	\| style="color:#000000;" \| '''Kilder'''
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\|\| <div style="color:#000000;">Film-ontologi</div>
		+
		+	<div style="color:#000000;">Cinema pur</div>
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Perceptions-diskurs
		+	\|\|
		+	\|\| <div style="color:#000000;">Stan Brakhage</div>
		+
		+	<div style="color:#000000;">William C. Wees: Light Moving in Time</div>
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Altered states of consciousness (psykedelisk)
		+	\| style="color:#000000;" \| I video er der en overensstemmelse med sindets entoptiske krafter og mediets substans (Coppoly?)
		+	\|\| <div style="color:#000000;">James Whitney</div>
		+
		+	<div style="color:#000000;">Jordan Belson</div>
		+	\| style="color:#000000;" \| Coppoly
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Cosmic consciousness
		+	\|\|
		+	\|\| <div style="color:#000000;">“2001” (Kubrick)</div>
		+
		+	<div style="color:#000000;">“Moon” (Scott Bartlett)</div>
		+
		+	<div style="color:#000000;">Eric Siegel (Coppoly: 75)</div>
		+
		+	<div style="color:#000000;">Youngblood</div>
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Visual music
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Expanded consciouness/cinema
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Videnskabelige “scoper”
		+	\|\|
		+	\|\|
		+	\|\| Tidlig artikel i [Sight and Sound: Winter 1936/1937: Volume 5, Issue 20], som diskuterer filmens muligheder som# <div style="color:#000000;">erkendelses-instrument</div>
		+	# <div style="color:#000000;">visualiserende</div>
		+
		+
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\|\|
		+
		+	<div style="color:#000000;">Post-human</div>
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\| style="color:#000000;" \| Instrument (video synthesizer)
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|- style="border:1pt solid #000000;padding:0.0694in;"
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|\|
		+	\|-
		+	\|}

@@ Line 63: / Line 63: @@
 == Abstract film in popular culture ==
-<div style="color:#000000;"><u>'''Abstrakt film i populær kultur'''</u></div>
+<span style="background-color:transparent;color:#000000;">Jordan Belson: “While working diligently as an independent filmmaker within the flourishing West Coast scene, Belson’s visionary cinema caught the eye and imagination of Hollywood, with Donald Cammell making use (with Belson’s permission and an official licensing agreement) of Belson’s imagery for Cammell’s controversial science fiction film </span><span style="background-color:transparent;color:#000000;">'''The Demon Seed'''</span><span style="background-color:transparent;color:#000000;">. Philip Kaufmann went even further by hiring Belson to design key special effect sequences for his rousing bio-pic epic of the first American astronauts, </span><span style="background-color:transparent;color:#000000;">'''The Right Stuff'''</span><span style="background-color:transparent;color:#000000;">. Belson’s wonderful “fireflies” sequence gave form to the cosmic flares seen by John Glenn on his return to Earth, a voyage that had earlier inspired Belson’s remarkable Re-entry.” - </span>[http://hcl.harvard.edu/hfa/films/2012octdec/belson.html http://hcl.harvard.edu/hfa/films/2012octdec/belson.html]<span style="background-color:transparent;color:#000000;">&nbsp;</span>
+{| class="wikitable sortable" style="text-align:center;"
 |- style="border:1pt solid #000000;padding:0.0694in;"
 | style="color:#000000;" | '''Titel'''
@@ Line 257: / Line 251: @@
-<div style="color:#000000;">'''ABSTRAKTE TITLES:'''</div>* <div style="color:#000000;"><span style="background-color:transparent;">Red Lights (2012, d. Rodrigo Cortés) - open: Jorge CalvoAbstrakte “prikker”, Brakhage-agtig</span></div>
+== ABSTRAKTE TITLES ==
-* <div style="color:#000000;"><span style="background-color:transparent;">Perfect Stranger (2007, d. James Foley) - end: Nina Saxon (vist?)Organisk-geometrisk mønstre, ala Electric Sheep</span></div>
+* <div style="color:#000000;"><span style="background-color:transparent;">Red Lights (2012, d. Rodrigo Cortés) - open: Jorge Calvo - Abstrakte “prikker”, Brakhage-agtig</span></div>
 * <div style="color:#000000;"></div>
+== MEDIE-IKONOGRAFI I FILMHISTORIEN ==
 * <div style="color:#000000;"><span style="background-color:transparent;">The Ring - den døende VHS (“The videotape </span><span style="background-color:transparent;">''is''</span><span style="background-color:transparent;"> the ghost”)</span></div>
 * <div style="color:#000000;">“8mm” (Nicolas Cage)</div>
 * <div style="color:#000000;">“Sinister” (gyserfilm med Ethan Hawke, hvor han finder gamle smalfilmsruller med mord, der bl.a. Brænder op)</div>
@@ Line 276: / Line 269: @@
+== EKSPERIMENTALFILM-TEKNIKKER I ANDRE GENRER ==
-<div style="color:#000000;">'''EKSPERIMENTALFILM-TEKNIKKER I ANDRE GENRER:'''</div>* <div style="color:#000000;">Reklamer og public service</div>
+* <div style="color:#000000;">Reklamer og public service</div>
 ** <div style="color:#000000;">Len Lye’s GPO-reklamer</div>
 ** <div style="color:#000000;">McLaren’s GPO og “OBS”-agtige videoer</div>
@@ Line 317: / Line 310: @@
-<div style="color:#000000;">'''Og omvendt - teknikker kan også arves fra andre domæner:'''</div>* <div style="color:#000000;">Jordan Belsons teknikker er inspireret af planetarium-opgaver</div>
+== Og omvendt - teknikker kan også arves fra andre domæner ==
 * <div style="color:#000000;">John Whitneys maskine stammer fra “air-craft”</div>
 * <div style="color:#000000;"></div>