tag:blogger.com,1999:blog-362490602011-04-21T18:24:10.644-07:00charitinihttp://www.blogger.com/profile/02817734934202593655noreply@blogger.comBlogger41100tag:blogger.com,1999:blog-36249060.post-1164208296742625682006-11-22T07:09:00.000-08:002006-11-25T16:31:46.841-08:00<span style="color: rgb(204, 204, 204);font-family:courier new;" >photography and film share the same genetic code...</span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/36249060-116420829674262568?l=charitini.blogspot.com' alt='' /></div>charitinihttp://www.blogger.com/profile/02817734934202593655noreply@blogger.com0tag:blogger.com,1999:blog-36249060.post-1164205724911809622006-11-22T06:27:00.001-08:002006-11-25T16:14:07.400-08:00<span style="font-family:courier new;">For a number of structural filmakers, the projected film has functioned as the metaphorical and literal container of the photograph..<br /><br /><br /><span style="font-weight: bold;">Michael Snow</span><br /><a href="http://www.medienkunstnetz.de/works/wavelength/"><span style="font-style: italic;">Wavelength</span></a> (1966-67)<br />..commentary on the limitless power of the moving image to contain and reframe a photograph in all of its haunting...<br /><a href="http://www.medienkunstnetz.de/works/wavelength/"></a><br /><br /><span style="font-weight: bold;">Hollis Frampton </span><span style="font-style: italic;"><br /><a href="http://www.youtube.com/watch?v=jVs_wGno1_I">Nostalgia</a> </span>(1971)<br />..demonstrates the triumph of the moving image over the photograph...<br /><br /><br /><span style="font-weight: bold;">Peter Campus</span> <span style="font-style: italic;"><br /><a href="http://www.medienkunstnetz.de/works/three-transitions/">Three Transitions</a></span> (1973)<br />..the photograph is framed and ultimately overpowered by the moving image but nonetheless maintains a ghostly, echoing presence...<br /><br /><br /><span style="font-weight: bold;">John Baldessari</span> <span style="font-style: italic;"><br />Ed Henderson Reconstructs Scenarios</span> (1973)<br />..although we "talk" an image into existence as we experience or "read" it, the moving image ultimately confounds the limits of verbal description...<br /><br /><br /><span style="font-weight: bold;">Morgan Fisher</span><br /><span style="font-style: italic;">Standard Gauge</span> (1984)<br />..enacts an intimate deconstruction of the cinematic apparatus...<br /><br /><span style="font-weight: bold;">Douglas Gordon</span><br /><span style="font-style: italic;">24 Hour Psycho</span> (1993)<br />..renders the film almost as a sequence of photographs under the visible influence of formal enthropy...<br /><br /><span style="font-style: italic;">Through a looking glass</span> (1999)<br />..the rhetorical move of doubling and reversal creates an insular circularity that deatabilizes the anticipated momentum of narrative film shots...<br /><br /><br /><span style="font-weight: bold;">William Kentridge</span><br /><span style="font-style: italic;">Felix in Exile</span> (1994)<br /><span style="font-style: italic;">History of the Main Complaint</span>(1996)<br /><br /><br /><br /><br /></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/36249060-116420572491180962?l=charitini.blogspot.com' alt='' /></div>charitinihttp://www.blogger.com/profile/02817734934202593655noreply@blogger.com1tag:blogger.com,1999:blog-36249060.post-1164202925318271972006-11-22T05:31:00.000-08:002006-11-25T16:24:30.917-08:00<div style="text-align: left;"><span style="font-family: courier new;">My intention is to <span style="font-weight: bold;">"animate" the photographic portrait</span> by creating video portraits that will look like still photographs.</span><br /></div><span style="font-family: courier new;"></span><span style="font-family: courier new;">does the power of a portrait differ according to the medium that produces it?</span><br /><div style="text-align: left;"><span style="font-family: courier new;">which are the effects on viewer's perception?</span></div><span style="font-family: courier new;"></span><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/36249060-116420292531827197?l=charitini.blogspot.com' alt='' /></div>charitinihttp://www.blogger.com/profile/02817734934202593655noreply@blogger.com0tag:blogger.com,1999:blog-36249060.post-1161193161493308082006-10-18T10:38:00.000-07:002006-11-25T16:19:04.237-08:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/x/blogger2/7652/4424/1600/20581/d.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://photos1.blogger.com/x/blogger2/7652/4424/320/210136/d.jpg" alt="" border="0" /></a><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/36249060-116119316149330808?l=charitini.blogspot.com' alt='' /></div>charitinihttp://www.blogger.com/profile/02817734934202593655noreply@blogger.com0