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iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides

iguanodon:

(nostalgia) - Hollis Frampton, 1971

this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides

giallolooks:

Mayhem | Abigail Child (1987)

Mayhem focuses on film noir, teasing apart its complex threads of sexuality and violence, narrative and voyeurism. Drawing on a rich collection of archival footage and historical materials, Child fragments and intercuts sequences to confuse and disorder contemporary regimes of gender and sexuality, playing up the troubling interpenetration of male and female (and heterosexual and homosexual) desire embedded in her dizzying array of borrowed and recreated materials.

As film scholar Madeline Leskin has noted, “Mayhem meticulously employs the language of noir: the lighting, the camera angles, even the latent sadism, but takes noir to the next level by drawing the connections between sex and violence.” With its frenzied cataloguing of allusive glances, awkward pursuits, disguised identities and threatened poses, all forced into a breathless pitch, Child’s film suggests a world in which such melodramatic gestures, while full of meaning, do not lend themselves to any sure decoding. Instead, they form an endless series of detours and diversions, disruptions and deviations, as their intimations of violence and suspense take on delayed impacts, detonating at different moments within the film instead of setting up linear continuities of cause and effect.

Liz Kotz, “Complicity: Women Artists Investigating Masculinity”

(Fuente: certifiedshawty)

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