Solved by verified expert:1.Scar Tissue (Su Friedrich, 6.5 min., 1979) http://www.dailymotion.com/video/x22avkywatch the video and answer the following question, make a paragraph of a 150 words.- How do you analyze the visual pace/rhythm?- What is your general response to this film?2. Read the Assignment pg 78-97 ( the uploaded pdf)After reading the assigned article, make a 150 words paragraph.In total of 300 words, 150 for each question.
a_critical_cinema__larry_gottheim__pg_78_97_.pdf
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. m
ing ar and th foot c re .orded in
r mtellectualand aesthetic m
18
7
Larry Gollhelm
Larry Go thei
dlt:llioll
of
n
n-
•
80
A en
ca l Cinema
h im’s decision to structure foot.ugc Into rhyming sections is’ it,
passage or visual imagery, photogruphcu around ~ hat was then 0 ltlleimil
Uingharnton, NewYork , home and durin u family vacation in Florida, These
pa sage. are eparated from n (In thcr by passages of dark: leader and urr.mgcd l , 2.3 ,4 5.6, 7, 7. 6, _, • . . 1. Th s und rrack is (our and a half
minutes of remini cences about blu singer Blind Willie John on b hi
Widow, AngelinaJohn.on, editetl from II lkwuys record. Gonhelm arrange
the Imagery and ound so thai the film alternate ‘ between Bence and . lind:
we hear the rernini cenees for the fi rst true . juxtapo cd with visual ptl,sage 2,
then with pas ages 4.6, 7 (the econd presentatlon). 5. 3. 1. Whil we rep ‘111’”
dly hear and see the same sound!’ and isuals, Gottheim carefully arrtng
them so that a variety 0 subtle relationships between particular . Quod . and
visual events would become e idem. The result allow the iewer-listener to
examin a wide range of way ‘ in which formal and representational elements
or rec rded imagery can intena t with formal nd repre eetational a. peets of
SO IO(I and with silence. B ‘ CIHlS’ (he vi. unl s and .ounds are so different from
one unolher-especiaJly wh n c mp red with the image and sounds in nentionat film-many of the e lntem ti n are quite . ubtle; ne barel ns ‘
a eonnection before it di..appears. MOt/l·/ft!.~ Yol antes refe to the ” Ilyin~
goats,. de cribed by H. on Helmholtz 10 Ph.w;iolo8icoIOptif: 1186 1, which
e i t in th human eye, just at tho edge of perception.)
-our hadows 1978). the third se tion of Elective Affinities, wo rks with
lrnuge and Quodin It manner remln •cent of MOl/dies Vo/amesbut in ~On1 C’·
what mote complex-and in some senses m rc literary-mann r, our QI.Irminute passage of im8g~ry-“urvey .’ working in the field aero (rom oll·
helm . home. page ‘ of a book 11 Ul C lanue filmed in close-up, a enes of
winter <:ityseapes, and a Cami! of lomang gibbon filmed at the at; oalloo
tn Wa, hington~are j uxtup<)sed with four four-minute passage of ouod
u(dOQr country sound.• foul' read ngs of t'I pi'S'age from Word worth's PI'I'
/rId/! (each by four different voice, in SI!' t !ision including tb S o,f flIllI'
makers Vincent Grenier Heinz migllol7" Jonll! Mckas, Peter Kuhelka, Thka
lir'nura, Alfons Schilling, BabeUe Mang lie, and Klau ' Wyborny), a pages of vilmals and 'ounds are 3l'tanged ,,sed in P(mr S/J(/dmys, th ' om;c.ptual e perience ie off< I'!'I - thl,;
Larry Gotth 1m
81
primary f us ngain b~il'lg tho interacti It of human logic in lis ari us extensions with natural Iorces-e-l r markably complex. At til same lime, Four
Sh{ldow,~ malrualns n tendency in uheim's work to move own f m the ensual pleasure of I king at beautifUl imagery, a tendency whi h. in my View,
weakens the tw film. that ~ lIo~ F(iUr S1IodQl s. In both Tree ofK1lmvle'dge
tJ9 0), the lnal s tl n f Elective Affinities. and ehe m re recent Natural
S~lecti~n (198 J, the ccnvendonal kinds of beauty that made the conceptual
d l~~nslons of . th e rly films comparatively accessible 1I11v been largely
eliminated. ':lOUthe result j 01'111 of iiIi'll experience 0 dryly academlc t r
my taste.
Gonheirn's contrtbutio ns as on administrator, especially during the early
f910 • deserve m ntion here, He tabli hed the film department (
Y_
Binghamton, brought K: n Ju bs I
Binghamton to teach, and during the
mid-1970 h ted visiting filmmakers (inelndlng Pet r Kubelka, rnie ieht.
Taka limura, nnd Nicnoln' Rn ) who made Binghamt n for a time one of the
nation' mote ex ting (lim venue'. The influeoce of the
NY-BinShlimt n
film department C ntinu to be felt in a variety of a • most oowbly. perhaps. at the ollective f< r i iog inema in ew York, wh re ottheim, Jacob . and a ariety I f ormer Binghamton tudents have pia eel U cruel I role.
ttheim'
This Interview was recorded during the urnmer of 1977 at
home in Binghamton.
nsiderable academic training at berlin and Yale,
led to 'f ur e!lrning doctorate in comparative literature. When 'I u fin;t
carne 10 SUNY - Blngbamton, in Ret you taught literature.
uld y u describe how y u became involved in film?
Gottheim ; Jt 'S funny: J Wll. thinking the other day that I'm the rt f per.
SOn who labor:; decision!l (l I I . ' ven in my flbns I de isc elabordle procedures
to I w things do 0 ' thut J can con dec as many fll! ' t rs w.; po ··!bl . I remember reading KlJfkll's diarie and fee.ling Ibi great symputhy wltb Kafka .
He wa.~ always thinking about marrying 'omebody and or yeal'S wrote these
elaborate lists f reliSOn!! for IIml against getting married. r CQuro, he uld
neVer make up his mind (l ul very much. Anyway. although I' m lhllt sort of
lJersoo. lb things thllt 1 Ye dol'le in my life that have made a majQr differenE;e
b~Ye been don with almost no til ugbt or preparation Or even 8 ren ~ . that a
bJg deci ion was being rnude.
.The frrllt art that I WW:l iuvolved in w musi ; J played the clarinet as a
e~l1d and. went to a high seh III ror mu. ic ,and art . t w ~ s ..iou '1)' involv d
wlIh musIc and have relurned If) tlUlL a lot. 1 pend more time Hstenin ttl mu'!I0COOfl(l ttl: You hadc
WhICh
62
A Critical Cinema
nd thinking about music than I do reading 0 being involved in other arb.
In (loy case, when I til> in college I became tntcrcsrcd in other . ubjc ‘ Is and
kind of dropped music 1 tnrted writing poetry und lctlon; 1 was wrltlng {I
novel at one time. During me period when I Will> d tidi ng whether t go n 10
graduate 11001. or what t do with my life. I came to feel thaI to be 11 secret
poet-you know, somebody ho doe graduutc work in Iiteraru but ls S” crerly writing poctry -Wl1!1 1 be in an awkward and imbarra ‘i ng positlon. 1
reh thJlt f • hould milk’ some k.ind ‘Of decision and either get out f the wh Ic
sch I situation nod ‘ U’ll keep writing or mmit myself’to the academic thing,
which offered real , nlh,ruction. at least when J was in graduate chool, S ,
stopped trying to b poet or a nbvel1 ·t in the middle r graduate school.
Wl1en I g t .awuy frol1’l graduate ch 1and lnt the w rId of leaching und
faced the prospect of writing about llteruture. tbe m re emp that ft f
lhinn became. The pe pI in the literature dep nment saw me as this bright
young fucult m unber who WU~ going to write the. Carticle and this hOi)k and
do thi. and do that, end my whole life seemed ‘pread out before me. 1had thl
trernendou revulsion lIgainst that~ and I gu 11 all or thi creative ncees ity
lhol had earlier >1JlC ut in music and in poetry [ust welled up very sudd nl)’
and surprisingly. und I hit e no idea why It had I d with film, 1 diun’t kn w
t1l’lYbody who was, lIImmaker. J wa only dimly aware that there WII such It
thlng a ‘ independent tHmlllllking. But fOr a year r IW r found my If longing
or orne pportunlty t learn how to make films. and 1realized a l me point
11UI that p.portlnilY was never going to tlrl. e, ll1~t l I had to dO it my$clf, I
rcmclhber go ing to sOnlclxxIy 1 knew Who hal been ass dated with mukh1S
newsreels in the flfhes, I told bjm I wanted I get a camero, and he said,” ,
you intere ted in gelling 801m or 16mm’t ‘ and I had n clear jdca even of wllat
the cliff! r;ence Wll .
In any tu. e, ~rQu n(j IhtH time t went I ~l WiIluughby’s In Nc York ulld r r
300 gol an old Bolex Camcru with a single los. not even a very good lenl> , II
aU happened very qui kly. nod there I was with Ih s camera and two rolli, of
film, and the only Instructi n ‘ I had were the iOl1trtlctions that had orne ” Ith
/he Bolex, and 1 ell lremendously lightened, Iremcndou$ly C )fJmiUt:d f
“,hat I 1; as doing. It too ,long time to de<:idc what J was going to d wittl
those first two rolh or IlIm, but tbe tran 'ition happen d aim t vernight. Ttl '
ne l year I 'taned wlnting lO teach cours s in 111m and.my ev,ery Wilkin!! m
ment was invQI cd wlth fi lm. When pe pte Wl uld 'ay, " Ob. t unde 'und ,hll~
you're jntere 'led in liIm n(lW: are y u stilltcuthing literature?" I '"Mid reuli/ur blueberries being elUenT' BUI when 1 'how thell
to audience - partlcularl when I've suggest d thor u are quite erious and
that the view r hal> t() cl,lnccmrate to see what’s rrered- l ha e ‘xlremcl
hi
larry Gotlheim
83
gaud luck v ith audi I’l e re….pon”e. What rts r experiences have y u had
with audience ‘ seeing til~ films:
Oci!r!l ;111: To some ~xlenl l rhlnk these I1lms have aged the way lne age .
The, ~eem to be .c1earer lind to have more weighI n won first viewing than
th did when I /irsl made them, Thh. i true ‘ven wirh Barn Rushes. When
you saw Barn RII.'(lu:s when h wa still fairly r cent, you could hardly sec fh
hlm; there was , o mu ih talking; the audience had ‘0 many probll:11 ‘, In Ihe
lasr few years when Ii e hown those eariy film • • J haven’t had tl1m -ort of
problem. It seem’ thot -omchow, even though each audience may he l>ecing
the film ‘ for tbe first lillie, some tbiag’ has happened in the world 10 O1o.1.:c til
I’clUfI n ‘hip between the audience and the films .. I Ill- clearer.
. There iii 11 problem. especially with tho e Iilm • because they raise a quesBoO about what “to see n 111m” mean . To se Btues as a fi lm about blueberries. let” say. is not really to be e pericllciog the film in the way ,hili J
lT1~m~ lh~ fi lm I be pcrlenccd. In facti it may be thai the !TIO t fruitful way
01 thlnking of Ihal wbole group f single-shot I lin.” , t ‘ee that the)’ have
something to do wilh what it mean to experienee s mething, What the films
are about more than l1nythulg 1 the experience of perceiving,
MacDonald: All the early film eern 10 cornbin e amination» r lIh’l1plc
/lalul’ll! (~l ngs a~ very subtle cxploratl ns of properties of film. Much theil
mrerc« . to fact, 1 a function of that combination. But n another level severnl
oj lhe ftI~ rill thinking particularly of Blues, om, and Doorwo.v-secm
rnclllphon, . In Doonv’l ” Or example, you c lilt! ‘ay that a combinutl n or
u bleak wUlter cape tll1d Ill’ the pan. whkh makes that Landscape slide from
dllrknclIS (0 darkne. , l>CCms to take on a fairly obvious metaphoric dimen~
S1on. 11 that a by-product uf (Jther concerns, or i it metlling you were c~)n
‘icrou of when y u ~ ere making the film 1
(joltheim: 1 wa~I’1’1 Vel’ concerned, Qr even (‘(!it inu ‘, f more IHeral kinds
.>1 Ol~laphors . O~e thi~t , Ihlll [‘Ie been inv Jved with fot a long time. though,
IS Ihe way that thmgs 1(‘1 II t.seem to take /1 II rcvcrber<,m e. J doo't know what
the ~lropot1ion i . bu. if r were k<:eping a tape recQnJing of my coosciou n "
H ~lIghl be that one out llf every roW ion fijmic ideas conteno be embodied ill
;I fillll: Now, Why docs lhi, On detail or tbj~ one procedUre or Ihi. ne
n~
'itel~at1Ofl of ideas and procedures get 10 be cilrried ou i? As I w rk 1 have a
ICe'!ng of it being pr ,mhing: it eems to be holding OUt th po 'ibHil)' of
~a Ing these revcrberuti 111>. even if I don’! know eXlle,ly what the ~trI.~. here
JUst seem Lo be dlLo; p loi. ure thaI Jeads m’ on.
I h~r me Fog Line hu, the m01>1 reverberations that keep coming, 1 c. JX.”<:t
hve years rr m n~)V, or twenty year!; from r:t,uw, I will be I king at "Qg
~I'!('.l.ln.d for tne fi ~st time will be CO~ ' c iQUS of Stlll1C kInd of verbaJizable sig.
lti~.m~. j feel thaLt.h JI film. ' peelall • ha!o 11 capllcit fnot being ('xhaubtIlllc,"'1 clemenralso h~ to tit'> llh why lh cwly tIm have been such rich
Inllllenc~,s on the IOler film ,although that h.nbll’t been COllSciou either, h n
or
tilt
•
A CntloEd Cinema
Tilt’ {‘mtlS(‘api’
ill (IIfhcim’… og Line (1970)
I was maKing Horizons, for
mple, ) began to W,nk a,bou,l Iin:s and b~ri.
zons and so In and realized that there were a 101 of]mpllcatlon In Fog Un,
thai J had been nly partly c nscious f hen I made it, In oroe cases. 1d l.
thmk about even (he m .sl ob iousthings until mu b later.
Mcu’Von¥llcI, The earl films em largely concernedwith an almost rned~.
Uttive c ncentration. Whil’ the goal of the meditation seems largely materialistic. at least in the ‘cn e that it de clop the viewer sensitivity ~o perce~
tual r at ties I lh In film and in nature, at time J wondered-partIcularly 1n
the case:; r Blues nd Doonvcl – whether there’ a kind of mystic tendency
in them. 1’111 ‘ I) ‘uggcstcd to me in b th cases bY the way !.hal tbe ntc.k cr.
creuted y Ihe ixteen.frnmc ·peNccond speed (particulady at the cnd f
J3/lles and I:t th’ point whc(t lhe big tt”C ‘ comesQ.cro” ~e,iroage in DOQrwa)
se lUll to hinl at $()fJ1ething beyon(:lmat¢rial perception. Do )Iou have any fed~
logs a out this;
~
”
0(1(111(‘1″,: ‘S, Thl is anolher area. that is very, very unportanl to Inc . bUI
It’ , alno trUe (hill Jldn t al1ord~d 11 ~hdn t s em n ccssury· – 10 hIm the burn hundreds and hundreds of
~mes, M slly what I did lJuring the tiC t six w eks C fSQ wa. 10 ~o there every
hUle th re . ’01 ‘d 10 be .In Intere. l jn8 light situ!lti n. Th re wasa cry Leong
lielechve prm’Css going on wllhoUI my havinS Itl film t:verything. though I did
‘.
Larry Gottheim
66
87
A CritiC ~ Cinema
II . eted Then there was this pt e s of
fUm a I t of material that was fina Y fer ‘l, t’l’ •• pr “~()minanl1v me rder in
, I de ‘Ihe order 0 t 11m … rcu
deciding what t~’.lIOC u e,
t:
h
“11< ~"'C in fact the throe on that
'n
t 'he nrst tree n, ,,
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