[Frameworks] Looking for writing on cinema and the body

[Francisco Torres]

Zone6-Incorporations had several film essays.






On Fri, Mar 4, 2011 at 9:46 PM, Mark Toscano <fiddybop at yahoo.com> wrote:

> some random films that come to mind, particularly including some lesser
> known ones I think might be fairly interesting on this topic…
>
> DEAD RECKONING (1980) by David Wilson
> FIELD (1970), GLIDER (2001), SIDE/WALK/SHUTTLE (1991), and PRECARIOUS
> GARDEN (2004) by Ernie Gehr
> FM / TRCS (1974) by Coleen Fitzgibbon
> FUTURE PERFECT (1978) and VICARIOUS THRILLS (ca.1979) by Roberta Friedman &
> Grahame Weinbren
> THE MAN WHO COULD NOT SEE FAR ENOUGH (1981) by Peter Rose
> HOTEL CARTOGRAPH (1983) by Scott Stark (and plenty of others, really)
> IN ORDER NOT TO BE HERE (2001) by Deborah Stratman could be an interesting
> take on this
> WAVELENGTH (1967), <-> (1969), BREAKFAST (1976), and others by Michael
> Snow.  LA REGION CENTRALE (1971) would certainly be one to consider.
> TRAVELLING MATTE (1971) and ORDINARY MATTER (1972) by Hollis Frampton
> THE GIRL CHEWING GUM (1976) by John Smith
> WARUM HAST DU MICH WACHGEKÜSST? (1967) by Hellmuth Costard
> LIVING (1971) by Frans Zwartjes
>
> Some of Kurt Kren’s work may be of interest.  There’re the Actionist films,
> but also stuff like 36/78 Rischart; 5/62 Fenstergucker, Abfall, etc.;  …
>
> Marie Menken’s work is definitely characterized by her particular quality
> of jittery hand-held shooting.  GO GO GO is on the NFPF Treasures IV DVD.
>
> Ben Van Meter’s 1960s work such as SF TRIPS FESTIVAL – AN OPENING (1967),
> OLDS-MO-BILE (1965), and UP TIGHT… L.A. IS BURNING… SHIT (1965) all reflect
> a very free-floating hand-held shooting aesthetic, usually featuring
> multi-layered in-camera superimpositions to boot.  These works of his are
> intensely first-person subjective and unpredictable.
>
> The amazing John Porter has a whole series of works that emphasize, in many
> ways, his body and eye behind the camera.  His extensive website is the best
> place to read more:
> http://www.super8porter.ca/
>
> Chick Strand’s work is often characterized by telephoto cinematography of
> very close up gestures and intimate spaces, making you fairly aware of her
> presence behind the camera.  Check out Fake Fruit Factory on the Treasures
> IV DVD to get an idea, but there are plenty more.
>
> Will Hindle’s films also do a fair amount to reinforce the sense of there
> being an artist’s body and mind behind the camera – his techniques and
> approaches foreground this to a strong degree, and make no effort to hide
> the sense that these are films made BY someone, whose physical and
> psychological presence is very vividly felt at all times.  I would in
> particular check out Watersmith (1969) and his lesser-known, but fantastic
> 29: Merci Merci (1966).  But pretty much any of his films have these
> qualities.
>
> Joe Gibbons often films himself from a camera in his outstretched hand –
> some of the PXLVision films definitely do this, like His Master’s Voice.
>
> Lots by Saul Levine.
>
> hope this of use,
>
> Mark Toscano
>
> --- On Fri, 3/4/11, Jon Perez <jonmperez at gmail.com> wrote:
>
> From: Jon Perez <jonmperez at gmail.com>
> Subject: [Frameworks] Looking for writing on cinema and the body
> To: frameworks at jonasmekasfilms.com
> Date: Friday, March 4, 2011, 3:16 PM
>
> Hey all,
> I'm in the beginning stages of my thesis and I'm looking for any/all
> writing concerning the relationship between the body and the camera and
> Brakhage's "untutored eye."  I understand that this is vague but I'm
> interested in any iteration of these concepts.
>
> I'm also looking for films where the physicality of the body operating the
> camera becomes central to perceiving the film, like in the films of Phillipe
> Grandrieux for example.
>
> thanks for the help,
> Jon Perez
>
>
>
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