By Adrian Martin
Early in 2009, Nicholas Rombes on his blog Digital Poetics launched the project 10/40/70, for anyone who wished to use it:
An experiment in writing about film: select three different, arbitrary time codes (in this case the 10 minute, 40 minute, and 70 minute mark), freeze the frames, and use that as the guide to writing about the film. What if, instead of freely choosing what parts of the film to address, one let the film determine this? Constraint as a form of freedom – a new method of film criticism, freed of the old tyrannies of continuity. The discontinuity of the digital age, demanding a new way of seeing. A new way of writing.
This wonderful avant-garde call to critical arms recalls – consciously or not – a century of manifesto-style pronouncements. Constraint as freedom: wasn’t that the literary motto of the Oulipo group? Down with the tyranny of continuity: couldn’t that have been the cry of every art movement devoted to collage, montage, cut-up? Let the film overwhelm us and determine what we will say about it: maybe the ‘impressionist’ Manny Farber could have agreed with the Surrealists on that point? A new way of seeing tied to a new way of writing: hasn’t every revolution in film criticism proceeded with precisely that same, impassioned, almost hallucinatory conviction? Continue reading