Cinema is a medium tied to temporality. We experience a film one frame at a time, and barring a projector meltdown or remote control mishap, we watch it from start to finish in the order designed by the film’s creators. Comics, on the other hand, are a profoundly spacial medium. Time is read between the lines and between the panels, but it is the space of the page that we primarily consume. Over a two-page spread, all moments are one, and page-time is traveled as the eye darts back and forth across the page. Continue reading
Everyone has a relationship to movies. One of our goals at Project: New Cinephilia has been to invite contributions from artists, writers, and others across non-cinematic disciplines to share with us the ways in which film has shaped or informed their creative practice. At Edinburgh’s Festivalhouse@Teviot on June 16, we’ll be debuting a new exhibit entitled “At the Movies with Marcellus Hall: Illustrations from The New Yorker, 1993-2010.” Accompanying the illustrations are annotations we’ve commissioned from Hall that speak to both his process and, at times, the impact of the films he has been assigned to cover. Below are two pieces that ran in other magazines, three from The New Yorker, and one previously unpublished work, debuted exclusively online by P:NC. Continue reading
By Timothy Corrigan
The following is an excerpt from Timothy Corrigan’s book The Essay Film: From Montaigne, After Marker, forthcoming from Oxford University Press in August 2011. It is published here by permission.
Art about art-or better put, art through art–is a tradition as long as artistic and literary history itself, extending back through many centuries of literature and visual representation and forward into film history, from well before John Keats’s ode on an urn to well after Buster Keaton’s comedies about a film projectionist and cameraman.[i] Like its forerunners, film’s versions of this reflexivity both create and participate in their own aesthetic principles, overlapping their representations of other artistic and aesthetic experiences with their own cinematic processes and frequently reflecting those processes as a reflection on film itself. Continue reading