I’ve spent the last several days at the annual conference of the Society for Cinema and Media Studies (SCMS). The only talk I gave was a response to a panel entitled “Untimely Bodies.” For what it’s worth, the text is here.
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on Sunday, March 9th, 2008 at 2:00 pm and is filed under Film, Personal, Theory.
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It was great fun chatting about Hogan’s Heroes and other assorted goodies over drinks at this year’s conference. Considering we share a campus, it sure would be nice to continue these chats over coffee in the future. Cheers.
PS – I’m picking up Zeroville and strongly advise Roszak’s “Flicker”
Truffaut was the real metaphysician of film. How many frames per second do we need to create a “reality effect”? 24?
Unless you’re intoxicated or insane I believe the first untenable (there’s no defense for such arguments) step in providing an ontological view of the cinema is to go with 24 frames per second, which I believe Deleuze mentions(?).
I just googled “24 frames per second.” One site that came up with that I didn’t visit was “sex at 24 frames per second.” They may have something here!?. Could you imagine sex at a higher or lower speed per second?
The point is: besides the freeze frame, which Truffaut practically invented (I’d have to research that one), is that there is a first untenable premise (obvious, maybe only to those aware enough to perceive the similitude btw 24fps and the speed of life, which again I believe Deleuze speaks about at the end of Cinema 1 or Cinema 2) … I seemed to have lost my train of thought just moving at 18fps this morning. We’re speaking about the “reality effect” and an ontological premise, which may push us towards speaking about cinema at a more robust level. Presto!, no?
I just retrieved many books from storage. What a backache that was! Just after an epidural nerve block!!
I must retract my statement that Deleuze mentions anything about 24 fps in Cinema 1 and Cinema 2.
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