By Nicholas Rombes
In an period of speedy transformation from analog to electronic, how will we write approximately cinema in ways in which are as clean, staggering, and hard because the top movies are? In 10/40/70 Nicholas Rombes proposes one daring hazard: pause a movie on the 10, forty, and 70-minute mark and write concerning the frames to hand, it doesn't matter what they're. this system of constraint—by removing selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged via Roland Barthes’s concept of the “third meaning” and its specialize in the movie body as a picture that's neither a photo nor a relocating photo, Rombes assumes the position of snapshot detective, looking out the frames for clues not just concerning the movies themselves—drawn from a variety of genres and time periods—but the very stipulations in their lifestyles within the electronic age.
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Additional resources for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory
But, Martin (2001) points out, canonization ‘tends to mummify or ossify ¿lm classics. It is too reverential. ’ In proposing a new canon it is important to consider what it is that a canon should do, whether it is pedagogical in providing the foundation for ¿lm study, or commercial, helping to sell cinema tickets, DVDs, online streaming, etc. For Rosenbaum and Martin, the canon is pedagogical and essential, as Martin (2001) states: 37 THE HISTORY OF FILM STUDIES I do think that canons worth anything, new or old, are pedagogical – which is nothing to be ashamed of.
The inÀuence of theories of postmodernism is evident in the widening scope of this list, with ¿lms selected for their representation of groups outside of the hegemonic culture. This includes feminist and queer cinema 30 THE HISTORY OF THE CANON (The Piano, All about My Mother), African-American ¿lm-making (Do the Right Thing) and the recognition of popular genre ¿lms (The Matrix, The Blair Witch Project). In this way, the Key Film Texts list is typical of the contemporary approach to canon construction, drawing on traditional entries while trying to open up the range of ¿lms which are considered eligible for study, particularly with reference to groups who have not been represented previously.
His body of work (Birth of a Nation, Intolerance, etc) was valued for its aesthetic form and technical mastery rather than the subject and themes of his work. This approach is evident in Andrew Sarris’s (1968) study of US auteurs, The American Cinema, where Grif¿ths is included in the highest category, one of the ‘Pantheon’ directors. ) to create meaning and compares this to an established art form – that of poetry: Grif¿th devised a grammar of emotions through his expressive editing. The focal length of his lens became a function of feeling.