From: Pablo Marin (email suppressed)
Date: Sat Oct 15 2005 - 20:15:37 PDT
Jennifer wrote:
"These film
> experiments strike me as, dare I say, bourgoise? I
> realize he has put a lot
> of hands-on technical work into the films which
> should count for something-- I hope he does not pay
assistants to do the work for
> him--but there is
> something too easy about it."
which should count for something? too easy about it??
with that line you´re not only underestimating
tscherkassky´s work but the entire found footage
tradition.
personally, when watching a film, i don´t mind too
much for what you wrote about assistants. i mean, it´s
not like we were talking about Waking Life or some
cheap publicity remake of that film. Fischinger did
most of his films by designing the patterns and
layouts then copied by assistants, by the way. i don´t
think they doesn´t qualify as masterpieces though.
Pablo Marín
Buenos Aires.
--- jennifer fieber <email suppressed>
wrote:
> I realize from a IMDB search that Peter T. has many
> more films than I would
> have guessed. I didn't realize he started in the
> 80s. So I am only
> concerning myself with Outer Space and the last one
> with The Good, The Bad
> and the Ugly footage (Is it Dreamwork?).
>
> Too flashy? Yep. And damn seductive. But don't you
> think the power of the
> pieces comes mostly from the original material? I
> saw Outer space, was
> dazzled by it's scale and because cameraless
> filmwork is something I'm also
> interested in. I then got to see the film it comes
> from, The Entity, which
> is pretty mind-blowing. Saw Outer SPace 2 more
> times projected and found it
> pretty shallow this time. Any creepiness that comes
> across in the editing
> was already there in the original, but better. The
> darkness too. He really
> hasn't added much to it except for fucking with the
> soundtrack. And with
> no context Barbara Hershey now is the typical
> helpless female of
> horrorfilms. The original was interesting because
> by the end you were
> unsure if any of it happened, if she was crazy,
> lying or if their was a
> coverup. (As bad as it may be, I really want to see
> that Jodie Foster film
> Flightplan for the same reasons.)
>
> His other film Dreamworks, I had less tolerance for
> because 1) he's doing it
> again, and 2) the sergio leone is even more
> recognizable. Gee, perhaps it
> looks so good because of Leone, the Cinematographer,
> the lighting crew and
> the budget of the film?
>
> But I don't think it's just a case, of "the book was
> better." These film
> experiments strike me as, dare I say, bourgoise? I
> realize he has put a lot
> of hands-on technical work into the films which
> should count for something--
> I hope he does not pay assistants to do the work for
> him--but there is
> something too easy about it. As my friend said, "If
> someone from Hollywood
> sees these, he's going to make a million bucks."
>
> Perhaps someone else can explain why it gets under
> my skin, I'm struggling
> with the answer myself. It's shaken me up a bit
> asking myself if when I use
> found footage it might not be "cheating". I'm not
> saying all films have to
> have "substance" to be good. Kurt Kren made films
> that were simple, visual
> but poignant. I have never felt his films lacked
> something. Luther Price
> uses found footage, but he's got something to say
> with it.
>
> I've taken a 2 year break from filmwork or watching,
> but want to get back
> into it. But I've got some questions to work out,
> hence all the posting. I
> miss the critical discussions back in art school,
> and I hope Frameworks can
> substitute something, because I find most
> post-screening discussions in NY
> are either intensely vicious out of petty
> competition or else lacking
> critical bravery, because so many people are
> friends.
>
> Cheers!
>
>
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__________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at
> <email suppressed>.
>
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.