Re: Written texts in experimental film

From: Marcos Ortega (email suppressed)
Date: Mon Jan 18 2010 - 14:11:52 PST

   Hi, Brian

   Until very recently, there's just been only one copy, the original
print, that suffered extensive damage. It has been partially restored,
and, last week I attended a screening of a DVD transfer at the Museo
Reina Sofía. I think the artist has the control on the copies, since
he isn't interested in selling it to any institution. I can send you
the contact info off-list if you're interested.



   Quoting Nicholas O'Brien <email suppressed>:

> Marcos::
> O man! This looks amazing, do you know where a copy of this might be (just
> for curiosity)?
> best
> 2010/1/18 Marcos Ortega <email suppressed>
>> 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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>> >
>> > __________________________________________________________________
>> > For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>> >
>> >
>> Best regards,
>> Marcos Ortega
>> __________________________________________________________________ For info
>> on FrameWorks, contact Pip Chodorov at <email suppressed>.
> --
> Nicholas O'Brien
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.

   Best regards,

Marcos Ortega

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