By Nicholas Rombes
In an period of fast transformation from analog to electronic, how do we write approximately cinema in ways in which are as clean, astonishing, and hard because the top movies are? In 10/40/70 Nicholas Rombes proposes one daring risk: pause a movie on the 10, forty, and 70-minute mark and write in regards to the frames to hand, it doesn't matter what they're. this technique of constraint—by disposing of selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged via Roland Barthes’s inspiration of the “third meaning” and its specialise in the movie body as a picture that's neither a photo nor a relocating snapshot, Rombes assumes the function of photograph detective, looking out the frames for clues not just in regards to the movies themselves—drawn from quite a lot of genres and time periods—but the very stipulations in their lifestyles within the electronic age.
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Extra resources for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory
Even for directors like Buñuel and Resnais, who were greatly inﬂuenced by Feuillade, changes in production standards meant that any return to his way of making ﬁlms was impossible. The ultimate consequence was that ﬁlms were divided into two categories, later theorised by Third Cinema advocates as a First Cinema characterised by the high production values of the Hollywood ‘factory’ and an ‘art’ cinema divorced from a mass audience, a distinction reinforced at every level of the production and distribution network.
Of course, ﬁlm was already an industry, perhaps more strongly so than it became later. Directors did not think of themselves as artists, Feuillade least of all: they were artisans making a product. Yet this industry did not yet have the cynicism that came to dominate it with the development of Hollywood. Producers did not so much try to form or manipulate public taste as to merge with it. One should also not underestimate the effect of the technical limits of early ﬁlm making. The limitations of early cinema were not simply restrictions; they Surrealism and Popular Culture 25 also imposed a discipline which would be lost as the technique of ﬁlm became more sophisticated.
There is a sense, however, in which we might recognise that Feuillade’s reactionary sentiments converged with a public mood disillusioned with the modernity that had underwritten the First World War, and that, far from there being a contradiction between what appears to us as an almost anarchist sensibility in many of the ﬁlms and Feuillade’s political views, the two may not have been so far apart. In Judex, the ﬁlm he made to satisfy those who had condemned the apparent anarchism of Les Vampires, the underlying sentiments appear to be the same as in the ﬁlm that was criticised by the authorities.
10/40/70: Constraint as Liberation in the Era of Digital Film Theory by Nicholas Rombes