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February 13, 2009

Bruce Connor Films - Mark

I was also surprised to hear how much of Connor's early work was totally composed of found footage. I have always though of a filmmaker as someone involved with cameras, but in his early projects he was simply the editor. But this brings to mind an interesting insight as to just what film is as an art form. Connor's work highlights the power of editing and suggesting connections between potentially unrelated ideas by putting them in sequence on a time line. It is unique property of film that no other art form has in that you can't sit and stare at it like you can a painting because a film has a time element. Sure you could pull each separate frame print them and look at them together, but that would be a very different experience than watching the film.

I also liked the concept that Connor employed in "A Movie" showing the leader (with a surprise) as a part of the film. Taking an element of the physical object that is film, a part that isn't normally considered the subject of the text of a film, and including it as part of the text. It reminds me of the way I sometimes think about philosophy as being simply examining a subject from every angle and perspective, even theoretical ones.

Bruce Connor Films-Kelsey

I was surprised by the amount of "found footage" Connor used and the way that he described his ownership of the films created as owning the splices. This is interesting because in the university setting there is so much bureaucracy around appropriated (or plagiarized) material (especially when credit of the material is not given in the credits as is the case with Connor's films). This is not something I want to use in my films (especially not as a student), however, I found his concepts and rationalization of ownership and appropriation interesting.

The most exciting details in Connor's work is his use of reflection and shadow in the film described as dream-like (forgot title) and his use of exposure to evoke the spirit of the person in the photograph or film. I may use these techniques in future films (although I have used reflection and shadow) for the aesthetic quality they produce (a kind of abstraction of reality, or a questioning of which reality the character is in). I found it refreshing to see actual film footage, as opposed to the super hi-definition footage we see today. The scratches and nicks in the film which then show up when projected have a subtle elegant beauty and create another layer of interest.

February 7, 2009

What's Due Today? Check the Flow Chart.

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February 4, 2009

Equipment, Passwords & Resources

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Martin Arnold--Life Wastes Andy Hardy

here's a little clip, the end of a longer work that i think people should be aware of.
hope people enjoy this. no ketchup involved...