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Outer and Inner Space 1966
[16mm print]. Two b&w frames side-by-side of Edie Sedgwick in a close-up facing the camera as if she’s being interviewed. Behind her in both shots, a TV with a projection of her face in profile looks sideways at her sitting down. She occasionally looks back and regards her TV projection with shock, horror, surprise, but largely laughs and talks to the camera. The two shots essentially switch places, with one starting at a full shot and the other as a…
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Tiger Morse 1967
[16mm print]. One of Warhol’s single-subject interview portraits with Joan Morse, a 60s personality known for her idiosyncratic fashion sensibilities and mod clothing designs. Lots of abrupt cuts, almost all punctuated with whirling or mechanical lashing sounds, disrupt the medium & full shots with close-up inserts. The very colorful and wild production design holds a lot of attention as we’re essentially confined to just the room where the profile takes place. In comparison to Warhol’s many silent screen tests, the addition…
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Remains to Be Seen 1989
In an interview with David Grillo, Solomon describes the difference between his and Brakhage’s films by noting that, “there’s no sense for me of a body actually behind the camera as oppose to lets say Brakhage, where you almost always feel the human physicality behind the camera in his photographed work.” This distinction seems clear in how both filmmakers approach illustrating life, aging, and death - Brakhage overwhelms the senses while Solomon focuses them and whereas Brakhage’s films are always…
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La région centrale 1971
In some respects, Snow is positing an antithesis to Brakhage’s filmmaking, at least as far as Brakhage’s expressionism (the camera as representative of Brakhage’s eye) is at the opposite side of the spectrum from Snow’s impressionistic vision. From my own personal experience, La région centrale has informed my awareness of the distinction between what the filmmaker sees, what the camera captures, and what the audience perceives in the frame.
If one supposes that part of our attraction to cinema, as…