all 144 three-screen artists meeting videos
so my plan is to write about these, even though i seemingly can't register.
i'm going to look at each one. before tuesday
i guess
Saturday, January 31, 2009
Thursday, January 29, 2009
all right, all right
well, i'm trying to read through this journal on split screen and it's just such a fucking ridiculous thing -
fuck it, i'm just going to do my work.
fuck it, i'm just going to do my work.
sound and space in the split-screen movie
Sound can define sections of the screen, guide our attention to or between them.
– Richard Barsam, Looking at Movies
this quote is from
– Richard Barsam, Looking at Movies
this quote is from
Sound and Space in the Split-Screen Movie – Ian Garwood
the abstract of the split screen issue
The split-screen is a particularly cinematic device that symbolizes the
voyeuristic omnipresence /omniscience that tends to characterize screen
spectatorship. Yet, split-screens also expose their own artificiality,
baring the mechanics of screen culture by announcing their very
constructed-ness. Thus splitting constitutes a doubling that leads to the
revelation of duplicity. The split generates a critical rupture — one that
we posit as intrinsic to audiovisual media and its theoretical interpretation.
This special issue of Refractory seeks to mine the motif of the
split-screen in order to explore aspects of duality and duplicity in
relation to screen culture — not just in terms of the audio/visual
relationship, but also, spectatorial processes (both engagement and
identification), representation, film theory and industrial/technological
developments. The spectre of the split seems to haunt contemporary screen
media from every angle, surfacing in relation to zombie flicks,
double-crossing double agents, dubbing technologies and Multiple Language
Versions, to name but a few.
We invite contributors to take up this theme from a variety of historical
and contemporary perspectives or multi-disciplinary approaches. Possible
themes may include (but are not limited to):
∑ Screen zombies, clones, androids, dummies & twins
∑ Double agents & split personalities
∑ Body doubles & TV soap replacement actors
∑ Motifs of mirroring
∑ Echo & Narcissus
∑ Cinema’s “Coming Of Sound”
∑ Early cinema lecturers and Talker Pictures
∑ Dubbing & (post)synchronization
∑ Sound as ventriloquism (i.e. Rick Altman, Mary Ann Doane) &/or ghost
(i.e. Robert Spadoni)
∑ Bollywood Playback Singers
∑ Split-screens in the oeuvres of directors such as Brian De Palma & Darren
Aronofsky
∑ Multiplying the split: 24 (Fox Network) & Timecode (Mike Figgis, 2000)
∑ Suture theory
∑ Two-tiered models of film interpretation
∑ Conceptualising the film/theory split
∑ Split-theories (i.e. Deleuze’s time/movement break)
∑ Derrida’s theory of the supplement (le supplĂ©ment)
∑ Director’s Cuts & Alternate Takes
∑ Remakes & Multiple Language Versions (MLVs)
∑ Rotoscoping animation techniques (i.e. Linklater’s A Scanner Darkly, 2006)
∑ 3D technologies & double camerawork
∑ Disharmonies between sound & image (i.e. Godard)
∑ Films such as Singin' In The Rain (Stanley Donen, 1952), The Conversation
(Francis Ford Coppola, 1974), Blow Out (Brian de Palma, 1981), Palindromes
(Todd Solondz, 2004) & I’m Not There (Todd Haynes, 2007)
Timeline:
Abstracts Due: 3 March 2008
Notification: 31 March 2008
Manuscripts Due: 15 June 2008
Publication: August/September 2008
Editors:
Tessa Dwyer & Mehmet Mehmet
Cinema Studies Program
School of Culture & Communication
The University of Melbourne
voyeuristic omnipresence /omniscience that tends to characterize screen
spectatorship. Yet, split-screens also expose their own artificiality,
baring the mechanics of screen culture by announcing their very
constructed-ness. Thus splitting constitutes a doubling that leads to the
revelation of duplicity. The split generates a critical rupture — one that
we posit as intrinsic to audiovisual media and its theoretical interpretation.
This special issue of Refractory seeks to mine the motif of the
split-screen in order to explore aspects of duality and duplicity in
relation to screen culture — not just in terms of the audio/visual
relationship, but also, spectatorial processes (both engagement and
identification), representation, film theory and industrial/technological
developments. The spectre of the split seems to haunt contemporary screen
media from every angle, surfacing in relation to zombie flicks,
double-crossing double agents, dubbing technologies and Multiple Language
Versions, to name but a few.
We invite contributors to take up this theme from a variety of historical
and contemporary perspectives or multi-disciplinary approaches. Possible
themes may include (but are not limited to):
∑ Screen zombies, clones, androids, dummies & twins
∑ Double agents & split personalities
∑ Body doubles & TV soap replacement actors
∑ Motifs of mirroring
∑ Echo & Narcissus
∑ Cinema’s “Coming Of Sound”
∑ Early cinema lecturers and Talker Pictures
∑ Dubbing & (post)synchronization
∑ Sound as ventriloquism (i.e. Rick Altman, Mary Ann Doane) &/or ghost
(i.e. Robert Spadoni)
∑ Bollywood Playback Singers
∑ Split-screens in the oeuvres of directors such as Brian De Palma & Darren
Aronofsky
∑ Multiplying the split: 24 (Fox Network) & Timecode (Mike Figgis, 2000)
∑ Suture theory
∑ Two-tiered models of film interpretation
∑ Conceptualising the film/theory split
∑ Split-theories (i.e. Deleuze’s time/movement break)
∑ Derrida’s theory of the supplement (le supplĂ©ment)
∑ Director’s Cuts & Alternate Takes
∑ Remakes & Multiple Language Versions (MLVs)
∑ Rotoscoping animation techniques (i.e. Linklater’s A Scanner Darkly, 2006)
∑ 3D technologies & double camerawork
∑ Disharmonies between sound & image (i.e. Godard)
∑ Films such as Singin' In The Rain (Stanley Donen, 1952), The Conversation
(Francis Ford Coppola, 1974), Blow Out (Brian de Palma, 1981), Palindromes
(Todd Solondz, 2004) & I’m Not There (Todd Haynes, 2007)
Timeline:
Abstracts Due: 3 March 2008
Notification: 31 March 2008
Manuscripts Due: 15 June 2008
Publication: August/September 2008
Editors:
Tessa Dwyer & Mehmet Mehmet
Cinema Studies Program
School of Culture & Communication
The University of Melbourne
Tuesday, January 27, 2009
you3b videos
okay - i'm trying to do this and not sure it will work -
also here's a video that sort of youses
ha- misseplling as - pun -
uses the bed as a frame - let
s see if i can post this properly -
what i'm actually trying to do is make a three-screen youtube -
also here's a video that sort of youses
ha- misseplling as - pun -
uses the bed as a frame - let
s see if i can post this properly -
what i'm actually trying to do is make a three-screen youtube -
Wednesday, January 14, 2009
Time of my Life
time-lapse of a guy - and i didn't realize that this is, somehow, yet again - another new category - in youtube.
the personal timelapse portrait.
which in itself could
this would be a good canddiate for you tube tripler
time-lapse videos
http://www.videoart.net/home/Artists/VideoPage.cfm?Artist_ID=2066&ArtWork_ID=3149&Player_ID=7
these seems invariably to be all male. but it's a category online - that i never suspected - of course.
how do i upload things that make little thumbnails and not jsut the url?
these seems invariably to be all male. but it's a category online - that i never suspected - of course.
how do i upload things that make little thumbnails and not jsut the url?
Subscribe to:
Posts (Atom)