Re: Written texts in experimental film

From: Marcos Ortega (email suppressed)
Date: Mon Jan 18 2010 - 00:05:33 PST

   Isidoro Valcárcel Medina's La celosía (1972) is a literal
transcription of Alain Robbe-Grillet's novel 'La Jalousie'.

 From Bonet & Palacio's 'Práctica fílmica y vanguardia artística en
España, 1925-1981':
"/A limit experience limit-experience undoubtedly more original and
interesting is embodied by the film 'La celosía' (1972), by Isidoro
Valcárcel Medina, a plastic artist akin to conceptualism in some of
his works. It is a literal transcript or "adaptation" of the novel by
Robbe-Grillet, starting literally from the text as the only visual and
audio component. A film inevitably destined to cause an attitude in
the audience: nearly two hours in length, without any "image" (except
for a schematic sketch), rather than a text reproduced from beginning
to end, without alteration (except that represented by the
translation), but with many variations in the mode of transcription.
There is, indeed, a real planning (decoupage) of the text, with
caesuras determined subjectively by the author, so that a shot may
contain a word, phrase, number, a paragraph, a fragment arbitrarily
determined, or else the text read in voiceover. At times, the original
French text is used, in others, reading is hampered in several ways:
simultaneous asynchronous written text and spoken text, voiceovers,
choppy sound, and so on. Taking the proposal to its logical
conclusion, the film by Valcárcel Medina involves and questions
notions of authorship and performance, perception and intelligibility,
language/s and specificity, providing a truly unique
'anticinematográphic' challenge./"

   Quoting Kim Knowles <email suppressed>:

> Dear Frameworkers,
> I'm doing some research into written text in experimental film and 
> wondered if anyone had any suggestions of relevant works. The 
> research is part of a project exploring cognitive responses to 
> hybrid works of art combining text and image. I'm looking at films 
> such as Peter Rose's 'Secondary Currents', Michael Snow's 'So Is 
> This' and Hollis Frampton's 'Zorns Lemma'. I'd really appreciate
> any  ideas on this, particularly in relation to contemporary
> practice. Is  anyone currently working in this area?
> Many thanks!
> Kim Knowles
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   Best regards,

Marcos Ortega

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.