Wednesday, October 10, 2007
negative space as rhetorical tool . . .
. . . for building anticipatory joy/excitement/angst . . .
. . . cinema is an art of resonance . . .
i like this film. i don't need to say more, but i was thinking
that if i wanted to talk w/ my students about negative space,
this film could provide us with an interesting exercise.
1.) screen the film.
2.) ask students to pay attention to how they feel as they watch.
3.) ask students to jot "affect" or "emotion" words as they watch.
i do realize that we might not consider the blank blue screen as negative space, and there's an entire Rothkoesque/Reinhardtian discussion to be had there. still, in maybe what we might call "traditional" film terms, the "narrative action" doesn't start until 33 seconds into the film. how do we tolerate, appreciate, interpret, feel about . . . experience this absence? i like to think we can get at it via affect and emotion (experience and reflection/articulation). maybe rethink negative space and its value (because we continue to privilege *action*, the *purpose* or *meaning* as though its context were irelevant or tangential). and so but i think it could be fun and instructive. and not dull. and not conventional. and what i especially enjoy is the very "mundane" nature of what we are seeing. but of course, it's not at all mundane; i would love to read the emotion words students associate with this film's traditional "action," especially given the anticipatory confusion/frustration. for me, it's joyful, vibrant, and it comes as a kind of relief, even though i am a fan of Rothko and color field imagery as a kind of action. but so is my relief due to the ways in which i have been prepared to view narrative action? are there ways of reshaping my inclinations to respond conventionally? would this be a valuable project?
lovelylittlefilm from Steven Ball at directlanguage.
Please be patient as i'm testing new looks for this blog. i hope to be inspired to update more oten, read YOUR blog more frequent...
from Matter and Memory , by Henri Bergson , with and against whom Gilles Deleuze works his Cinema theories. I'm making my way through ...
in 1973, our family's fishing boat broke. the bow broke off after crashing down in the trough of a wave. we were returning from a day t...