From Experimental Cinema in the Digital Age by Malcolm Le Grice:
"7. Concern with duration as a concrete dimension.
…film language has evolved in such a way as to subsume the real time of the film under the illusory time of the narrative - compression of events, flashback and jump-cut… Exactly what our perception of duration entails is difficult to say, but it seems to require unbroken continuity before an event can incorporate an experience of its duration as a factor of awareness. Some film-makers have begun to pay attention to the problem of the real time of their films and to draw the attention of the audience to it… by unbroken continuity… and elimination of editing… or in specific relationship to time manipulation… time-lapse films… or as a concrete dimension with no reference to another time/space.”
Joel Meyerowitz, “Cinema” (1963)
“If there ever was a face that you could say – without hesitation – the camera loved, it is the divine face of Louise Brooks. After leaving Hollywood in 1928, Brooks went to Germany and was cast by director G.W. Pabst as Lulu in the classic German silent film Pandora’s Box (1929). Brooks’ unique look and style was brilliantly captured on film by Pabst, and Pandora’s Box cemented her screen persona and forever enshrined her in the annals of cinema history. Her iconic bobbed hairstyle, sexual confidence and defiant attitude imprinted itself on generations of cinephiles who also made films featuring strong, independent women, from Anna Karina in Jean-Luc Godard’s Vivre sa vie (1962) and Melanie Griffith in Jonathan Demme’s Something Wild (1986), to Uma Thurman in Quentin Tarantino’s Pulp Fiction (1994). Brooks is principally known for her role in Pandora’s Box, but what many people may not know is that she quickly re-teamed with Pabst for this follow-up, the only other film they made together”
i’m always kind of baffled when i realize i’ve introduced a lot of people to louise brooks, when to me, i see her everywhere. this is a nice succinct summary of how her face has made her mark, even after her death.
also, i must admit i often regret calling my blog (the often mispelled) “a l’allure garçonnière” instead of (the much easier to remember) “pandora’s box.” i tend to forget not everyone is franglais comme moi. then again, pandora was alreay a persona, and i wanted some continuity with garçonnière from livejournal days.
rushes of romy schneider in henri-georges clouzot’s 1964 unfinished film l’enfer
“The Invisible Cinema used to be a real movie theater, created in the 70s by Peter Kubelka, Jonas Mekas, P. Adams Sitney, and Jerome Hill. It is described as having black walls, black ceilings, black floors, & black chairs with little black side flaps that kept the vision focused on the movie.” — Invisible Cinema