Cinema Picture Style ((TOP)) Download 67

24/11 0 By bronell



 
 
 
 
 
 
 

Cinema Picture Style Download 67

the surface is intended to keep up with the movement of the bodies, their activity and energy. dense, almost black and white, the soundscape is mostly punctuated by the distressed cries of the actors. the close-ups of human contact call to mind the hollywood film noir shot of close-ups of murderously intimate face-to-face encounters; bodies are always at a ticklish distance, aggressive and yet held at bay.

it seems as if the labor of the production has been in vain. the film begins with nash going to the bathroom in his hotel room, slamming the door behind him. why is there no camera in there? he wonders.

when he returns he is standing in the doorway staring at an imaginary enemy; he is practicing obsessively for his us game against bobby fischer. this is the first hint that there is anything unusual going on in the film: there is a world outside the square.

the film settles into the métier of torture, and “cinema” becomes a description of how to talk the american and canadian soldiers into doing whatever he wants them to. he goes over their heads to the cia, and ultimately the us government.

with his distinctive “i want it now” approach, nash struggles to persuade the cia to put his theories into practice, and at the same time tries to get them to help him test his theories. “i’ve come up with a grand theorem that will change everything,” he tells the audience. but he has an opponent, an armed opponent. so, he tries to build a machine that will take on the opponent directly.

in the end he achieves his goal, which is to kill himself. he shoots himself with a gun, and the immediate impression is of a self-inflicted wound, not a gunshot. the camera shows only himself. it’s a ghostly image. it is a testament to the will to survive, but there is no bodily form that is not ruined by the battle. the film ends with this disembodied image of a severed hand; it is the victim of the battle it was fighting.

they may be problematic, yet they offer the possibility of opening the system of value made up of the ways in which the free circulation of images helps to structure contemporaneous film culture. the negative spaces are as important as the positive ones. if an image is poor, it may indeed be problematic. it is not necessary to complain about low quality.
the goal of the poor image is to transform conventional cinema into a kind of time-based aesthetic. as a formal approach, this is an attempt to elaborate space-time aesthetic strategies more than and beyond previous techniques of distribution. the poor image attempts to rediscover and rework earlier models of distribution, accounting and circulation. the poor image is a kind of radicalist artistic investment in minimal aesthetics, a radicalism which makes the virtual relation between image and sound and between image and text all the more important.
we are writing a user’s manual for the poor image, for the image’s own use: the way it works, the way it is named, its definitions, its basic references, the objects it becomes, its benefits and its dangers. the manual aims to make explicit the politics of the poor image. “politics” here means the role of politics as the enormous, natural, and at times, highly suspicious forces and norms that introduce certain expectations, form and communicate certain principles, and organize certain forms of circulation and storage. when we speak of the politics of the poor image, we are primarily talking about its aesthetic production. “aesthetic” here means its style, its priorities, what is communicated, which norms and aesthetics are or are not privileged, and how an image is commonly evaluated.
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