Category Archives: Photo

Editing, or the False Movements in Dario Argento’s Suspiria (1977)

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IMAGE 1.A film operates through what it withdraws from the visible. The image is first cut from the visible.”¬†

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IMAGE 2.¬†“Movement is held up, suspended, inverted, arrested.

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IMAGE 3.¬†“Cutting is more essential than presence‚ÄĒnot only through the effect of editing, but already, from the start, both by framing and by the controlled purge of the visible.

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IMAGE 4.¬†“It is of absolute importance that the flowers cinema displays (as in one of Visconti‚Äôs sequences) be Mallarm√©an flowers…

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IMAGE 5.¬†“…that they be absent from every bouquet. I have seen them, these flowers, but the precise modality of their captivity…

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IMAGE 6.…to the cut brings forth…

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IMAGE 6. “…indivisibly, both their singularity and their ideality.

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Quote from Badiou’s essay ‘The False Movements of Cinema.

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Nothing in Heaven

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Anatoly Solonitsyn and Tarkovsky on location during the filming of Andrei Rublev (1966)

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There is nothing, nothing in heaven, or in nature or in mind or anywhere else which does not equally contain both immediacy and mediation.

Hegel, The Science of Logic

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September 1, 2018 · 3:07 pm

Agua

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Shape of Water (Guillermo del Toro, 2017) shot using a digital camera (Alexa XT)

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