Motion(less) Pictures: The Cinema of Stasis (Film and Culture Series)

Motion(less) Pictures: The Cinema of Stasis (Film and Culture Series)

Justin Remes

Conducting the 1st entire examine of flicks that don't circulation, Justin Remes demanding situations the primacy of movement in cinema and checks the theoretical limits of movie aesthetics and illustration. studying experimental movies equivalent to Andy Warhol's Empire (1964), the Fluxus paintings Disappearing track for Face (1965), Michael Snow's So Is This (1982), and Derek Jarman's Blue (1993), he exhibits how immobile motion pictures defiantly show off the static whereas collapsing the bounds among cinema, images, portray, and literature.

Analyzing 4 different types of static film--furniture movies, designed to be seen partly or distractedly; protracted movies, which use super gradual movement to provoke stasis; textual motion pictures, which foreground the static demonstrate of letters and written phrases; and monochrome movies, which reveal a box of monochrome colour as their image--Remes maps the interrelations among circulation, stillness, and period and their worry of cinema's traditional functionality and results. Arguing all movies spread in time, he indicates length is extra primary to cinema than movement, beginning clean inquiries into film's manipulation of temporality, from rigidly established works to these with extra ambiguous and open-ended frameworks. Remes's dialogue integrates the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf Arnheim, Raymond Bellour, and Noel Carroll and may attract scholars of movie conception, experimental cinema, intermedia stories, and aesthetics.

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