1. Tagged #film
     
  2. Tagged #film
     
  3. raveneuse:

    Kurt Kren, 9/64 O Tannenbaum / 9/64 O Christmas Tree, 1964. 16mm, colour, silent, 2:56 min. Action by Otto Mühl.

    (via experimentalcinema)

    Tagged #film
     
  4.  
    Tagged #music #film
     
  5.  
    Tagged #music #film
     
  6. Film still from The New Babylon dir. Leonid Trauberg and Grigori Kozintsev (1929)

    Tagged #film
     

  7. This does not mean that ethnographic research does not get it wrong or that inferences are not made rather it is understood that any statement about the nature of the audience needs to move beyond mere speculation or self-reflection. Qualitative methodology does not get at an essential Truth; rather it grounds its inferences concerning the audience within the confines of actual audience practices. Furthermore qualitative methodologies attempt to keep in sight the highly reflexive stance that the researcher constructs around the knowledge of the audience through a complex interaction with the very “object” of knowledge. The ethnographic researcher in the field recognizes that this minefield, so to speak, is the only terrain in which to meet the audience and come to some understanding of its nature. In this sense ethnographic research of audiences are always ethnographies, multiple and contingent.

     
  8. However these privileged workers of the completed commodity society do not resemble slaves in the sense that they must provide for their upkeep themselves.  Rather their status can be compared to serfdom, because they are exclusively attached to an enterprise and to its smooth running, without receiving anything in return, and above all because they are strictly compelled to reside in one single space: the same circuit of ever identical dwelling-units, offices, motorways, holidays and airports.

    But they also resemble modern proletarians by the precariousness of their resources, which is in conflict with the programmed routine of their expenditure: and by the fact that they have to hire themselves out on an open market without possessing anything of the instruments of their labor - because of the fact that they need money.  They have to buy commodities: and things have been so arranged that they cannot remain in contact with anything which is not a commodity.

    In Girum Imus Nocte Et Consumimur Igni (We Spin Around the Night Consumed by Fire) dir. Guy Debord (1978)

    Tagged #film #politics
     
  9. moviesinframes:

    The Parallax View, 1974 (dir. Alan J. Pakula)

    By
    gentlemanloser
    Tagged #film #politics
     

  10. For Metz then the film spectator’s ability to hold two “two contradictory opinions” is rooted in the early experience of the child’s disavowal of castration by maintaining a belief in the maternal phallus. Metz maintains that this is the root or “matrix” of the ability to psychically hold two different emotional experiences which the cinematic apparatus then activates. The spectator is split in two different states; there is an incredulous spectator that knows the events on the screen are merely projected light and are fictional (that is, there is in the spectator a deeper psychic layer that perceives that the mother does not posses a penis and therefore is castrated) and a credulous spectator that believes the events and characters on the screen are real (that is, there is in the spectator a refusal to believe that the mother is castrated and a desire to believe she has a penis). For Metz, fundamental to the film-viewing situation is the continual back and forth splitting of consciousness and belief based on this primary fetishistic disavowal. (It is fetishistic because it allows simultaneous elaboration of two contradictory meanings and experiences.) The consciousness of the spectator is divided; a no to reality and a yes to the cinematic dream. This does not mean that looking at the screen is like looking at the castrated mother, but that the cinematic experience is made possible by and recapitulates for the film spectator the earlier unconscious experience.

     
  11. pleasebelieveinc:

    School in the Crosshairs, 1981, Nobuhiko Ohbayashi(Hausu)


     

    (Source: film-stills.livejournal.com, via nkym)

    Tagged #film
     
  12. belacqui:

    What are they doing? Why do they come here?

    —Some kind of instinct. Memory of what they used to do. This was an important place in their lives.

    dawn of the dead - george romero 1978

    Tagged #film