|
|
Post by Fox in the Snow on Oct 7, 2020 22:21:48 GMT
Paul Schrader has updated his seminal 1972 text “Transcendental Style in Film” and included this cool diagram on the development of non-narrative/slow cinema. Full articleIn the new introduction, Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu). I also drew what I called the [Andrei] ‘Tarkovsky Ring.’ What happens when an artist goes through the ‘Tarkovsky Ring,’ that’s the point where he is no longer making cinema for a paying audience. He’s making it for institutions, for museums, and so forth. Interesting, a lot of personal favorites there. Not sure if I 100% agree with some of the placements, but I imagine interpretation is quite personal. |
|
|
|
Post by hi224 on Oct 7, 2020 22:24:07 GMT
Paul Schrader has updated his seminal 1972 text “Transcendental Style in Film” and included this cool diagram on the development of non-narrative/slow cinema. Full articleIn the new introduction, Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu). I also drew what I called the [Andrei] ‘Tarkovsky Ring.’ What happens when an artist goes through the ‘Tarkovsky Ring,’ that’s the point where he is no longer making cinema for a paying audience. He’s making it for institutions, for museums, and so forth.Interesting, a lot of personal favorites there. Not sure if I 100% agree with some of the placements, but I imagine interpretation is quite personal. i need to watch more Lav Diaz.
|
|
|
|
Post by hi224 on Oct 7, 2020 22:25:31 GMT
Paul Schrader has updated his seminal 1972 text “Transcendental Style in Film” and included this cool diagram on the development of non-narrative/slow cinema. Full articleIn the new introduction, Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu). I also drew what I called the [Andrei] ‘Tarkovsky Ring.’ What happens when an artist goes through the ‘Tarkovsky Ring,’ that’s the point where he is no longer making cinema for a paying audience. He’s making it for institutions, for museums, and so forth.Interesting, a lot of personal favorites there. Not sure if I 100% agree with some of the placements, but I imagine interpretation is quite personal. you can really see how each director informs each other as the decades pass with Kirostrami being representative.
|
|
|
|
Post by Fox in the Snow on Oct 7, 2020 22:31:29 GMT
Paul Schrader has updated his seminal 1972 text “Transcendental Style in Film” and included this cool diagram on the development of non-narrative/slow cinema. Full articleIn the new introduction, Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu). I also drew what I called the [Andrei] ‘Tarkovsky Ring.’ What happens when an artist goes through the ‘Tarkovsky Ring,’ that’s the point where he is no longer making cinema for a paying audience. He’s making it for institutions, for museums, and so forth.Interesting, a lot of personal favorites there. Not sure if I 100% agree with some of the placements, but I imagine interpretation is quite personal. i need to watch more Lav Diaz. What have you seen?
|
|
|
|
Post by Fox in the Snow on Oct 7, 2020 22:32:33 GMT
Paul Schrader has updated his seminal 1972 text “Transcendental Style in Film” and included this cool diagram on the development of non-narrative/slow cinema. Full articleIn the new introduction, Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu). I also drew what I called the [Andrei] ‘Tarkovsky Ring.’ What happens when an artist goes through the ‘Tarkovsky Ring,’ that’s the point where he is no longer making cinema for a paying audience. He’s making it for institutions, for museums, and so forth.Interesting, a lot of personal favorites there. Not sure if I 100% agree with some of the placements, but I imagine interpretation is quite personal. you can really see how each director informs each other as the decades pass with Kirostrami being representative. - Jean-Luc Godard
|
|
