[Frameworks] Experimental films on photography

[Bernard Roddy]

It's fine. I'm sorry, I don't take interest in the question.

On Wed, Jun 10, 2020 at 5:37 PM John Muse <jmuse at sonic.net> wrote:

> Hi, Bernard.  I often teach a Film on Photography course and just as often
> include Memento in the syllabus… only to remove it.  Have you taught it?
> How does it work for students?
>
> Thanks!
>
> j
>
> > On Jun 10, 2020, at 4:49 PM, Bernard Roddy <roddybp0 at gmail.com> wrote:
> >
> > Dear Albert:
> >
> > This is a nice invitation to read (I quote it below). For me it leaves
> too much to consider. I had two reactions.First, I have been interested in
> conceptual art's use of photography. Under these terms we would have to
> impose a "post-photographic" restriction on what constitutes acceptable
> examples in your list. I would submit a short list of classic texts written
> by artists for publication in 1969 and 1970.
> >
> > But I also just taught a course in which I used standard narrative
> cinema in order to think about traditional philosophical material. And the
> film, Memento, became interesting for reasons having nothing to do with any
> experimental film.
> >
> > Or so it would appear. One could undertake a whole research agenda in
> which the role of memory in the understanding of shot relationships is
> explored. This concerns the experience of the spectator when the questions
> concern the order of events and their causal relationships. In his Matter
> and Memory Henri Bergson was preoccupied by 19th century research that
> involves brain lesions. Bergson uses results in neurophysiology to confirm
> his hypotheses about memory.
> >
> > But it was in order to get a handle on Deleuze's reference to the memory
> image that I found myself reading Bergson. Deleuze is extremely casual with
> terminology, but Bergson isn't. What Deleuze means by the memory image and
> the time image can only be appreciated, of course, by reviewing a history
> of narrative cinema. But what Bergson means when he discusses research into
> memory disorders can be appreciated by any artist working with images that
> replicate perception.
> >
> > In Memento Leonard takes instamatic photographs that are developed
> before his eyes. They are only part of his basis for deciding what he will
> do in the future, but as images fixed on paper they make possible repeated
> experience of the circumstances of some past event.
> >
> > Why burn a photograph documenting something you did? What is the
> significance of a character's understanding of the value of a photograph
> for the understanding that a spectator has of the plot?
> >
> > Bernie
> >
> >
> > - - - - - -
> > Hello all,
> >
> > I was making a list of experimental film practices on photography and I
> was
> > wondering if you could suggest more titles.
> >
> > At first I wanted to focus just on movies where photographs are deleted
> > (burned, destroyed) or denied but I only know *(nostalgia)* for Hollis
> > Frampton and the project *Found Monochromes* by David Batchelor (slides).
> > Does anyone know other films where the main purpose is the destruction or
> > the invisibility of photographs?
> >
> > On the other hand I have started a list of films made from photographs.
> > There are dozens of films (some of them animations) where the object of
> > analysis are still images, from filmed Polaroids to appropriation of
> > advertising images from magazines or the accumulation of digital images
> > found on the internet:
> >
> > *Transformation by Holding Time* by Paul de Nooijer
> > *Pasadena Freeway Stills* and *Hand Held Day* by Gary Beydler
> > *Production Stills* by Morgan Fisher
> > *Frank Film* by Frank Mouris
> > *Boy Meets Girl* by Eugènia Balcells
> > *Wall *by Takashi Ito
> > *Photodiary *by Takashi Ito
> > *Clandestine Porn Film* by Augustin Gimel
> > *DIES IRAE* by Jean Gabriel Périot
> > *The World as Will and Representation* de Roy Arden
> >
> > Do others come to mind?
> >
> > Thank you,
> > Albert Alcoz
> >
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>
> j/PrM
>
>
> *************************************************
>
> Take care; be well; wash your hands; safeguard all the distances!
>
> John Muse
> Assistant Professor of Visual Studies
> Haverford College
> he/him/his
> j=John PrM=Professor Muse
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