[Frameworks] Long takes and still images/ photography in experimental films

[lady snowblood]

I know it’s “television” but ... Twin Peaks : The Return is, in its entirety, astonishingly slow. Certain scenes are given the padding of ‘not turning away’ from really uncomfortable moments (especially couples fighting). One episode ends with a 3.5 minute shot of a bartender sweeping up peanut shells from the bar. 

The whole series lasts 18 hours; Lynch exhausts the viewer’s expectation of ‘plot movement’ early on by shifting the pacing. Pacing and sound design really put this in an ‘experimental’ space. 

I know it’s not film, and I know it’s pretty easy to tag the whole thing ‘Brechtian’ and move on, but it’s remarkable that this ended up on Showtime last year ... Every time an email comes through answering this question I think about the remarkable slowness and prevalence of single camera long shots; I need to say it :)

Jessica

* * * * *

Jessica Fenlon

artist : poet : experimental : http://sixth-station.com

flickr : vimeo : instagram

> On Mar 11, 2018, at 10:28 AM, Gashouse Films <gashousefilms at gmail.com> wrote:
> 
> Add in Filipino filmmaker Lav Diaz whose films average  length around 4-6 hrs
> 
>> On Fri, Mar 9, 2018 at 10:53 AM, Jorge Lorenzo Flores Garza <jorgelorenzo at hotmail.com> wrote:
>> Larry Gottheim's work.
>> 
>> 
>>  
>> De: FrameWorks <frameworks-bounces at jonasmekasfilms.com> en nombre de graemehogg at irational.org <graemehogg at irational.org>
>> Enviado: viernes, 9 de marzo de 2018 09:58 a. m.
>> Para: Experimental Film Discussion List
>> Asunto: Re: [Frameworks] Long takes and still images/ photography in experimental films
>>  
>> 
>> Whats long? ASL for industrial cinema ranges from 3 - 6 seconds, so a shot 
>> of even 10 seconds would be double the average. The shot length possible 
>> on a clockwork Bolex of about 20 seconds is common throughout the field you 
>> are researching so are they normal or long? Does experimental cinema 
>> materialogically deal with longer takes, so is there 'long' for exp' 
>> cinema and long for 'narrative' cinema? The two being different. Does a 
>> still frame copied thousands of times on a printer constitute a 'take'?
>> Does animation count as 'take based', ie Rhythmus 21 is a continuous flow 
>> that is unified in the end as a take?
>> 
>> Sorry for all the questions.....
>> 
>> I guess check out 'Motion(less) Pictures: The Cinema of Stasis (Film and 
>> Culture Series)' by Justin Remes amongst probably loads of other good 
>> books.
>> 
>> 
>> ||||||||||||||||||||||||||||||||||||||
>> NACHLEBEN FILM LAB AND ARCHIVE
>> http://www.nachleben.org.uk
>> n a c h l e b e n – Experimental film lab and archive
>> www.nachleben.org.uk
>> I have finally, after what feels like 10 years (prob 10 years since acquiring this machine) but is […]
>> 
>> 
>> CUBE CINEMA. BRISTOL
>> http://www.cubecinema.com/
>> ||||||||||||||||||||||||||||||||||||||
>> 
>> On Thu, 8 Mar 2018, Sebastian Wiedemann wrote:
>> 
>> > [7dd061b1eb7afcde9b6c43cda741479e5ff7e486.png?u=95490]
>> > Dear Frameworkers,
>> > I'm beginning a research about the presence of long takes and still images/photography as expressive resources in the production of experimental films.
>> > If anyone has in mind films that work with these procedures and can share with me some titles, I will appreciate a lot. 
>> > Best, 
>> > Sebastian 
>> > 
>> > --
>> > Sebastian Wiedemann
>> > http://swiedemann.tumblr.com/
>> > http://wavesproject.tumblr.com/
>> > http://hambrecine.com/
>> > 
>> > 
>> > 
>> > 
>> > ‌[icon-signature.png] Sent with Mailtrack
>> > 
>> >
>> 
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> 
> 
> -- 
> Daniel Maldonado
> 
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