By Nicholas Rombes
In an period of swift transformation from analog to electronic, how will we write approximately cinema in ways in which are as clean, extraordinary, and tough because the most sensible motion pictures are? In 10/40/70 Nicholas Rombes proposes one daring danger: pause a movie on the 10, forty, and 70-minute mark and write concerning the frames handy, it doesn't matter what they're. this system of constraint—by removing selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged through Roland Barthes’s thought of the “third meaning” and its specialize in the movie body as a picture that's neither a photo nor a relocating snapshot, Rombes assumes the position of photograph detective, looking the frames for clues not just in regards to the movies themselves—drawn from quite a lot of genres and time periods—but the very stipulations in their life within the electronic age.
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Additional resources for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory
We've just spent eight hours interviewing Stanley Kubrick. Lessons From Stanley, © Rob Ager 2014 45 We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick. We've just spent eight hours interviewing Stanley Kubrick.
Kubrick learned to utilize such techniques and thwart them if he happened to be on the receiving end. As an example of how this learning transferred to other areas of Stanley’s life, an email correspondent of mine described that actor Joe Turkel (Lloyd the bartender in The Shining) cited Kubrick talking loudly about a variety of subjects on set to distract his crew while he physically made small adjustments to furniture props. This allowed Stanley to covertly encode the film’s incredibly subtle hidden theme of furniture moving around by itself – a genius way of injecting new life into a tired horror genre cliché.
SK quoted in Stanley Kubrick: A Biography by John Baxter In today’s society people are encouraged to make their most personal information available on social media websites. Millions of people spill the beans online in spite of the fact that, again and again, we see Facebook, Twitter and forum postings made in casual discussion being used by opponents to attack the credibility and, in some cases, destroy the careers, of politicians, celebrities and other public figures. Even regular members of the public are often subject to this at the national newspaper level because when a media publication wishes to raise some particular issue about the behaviour and general views of the public all it has to do is highlight a couple of strong, though often isolated, examples of immoral statements made by members of the public on the internet.
10/40/70: Constraint as Liberation in the Era of Digital Film Theory by Nicholas Rombes