Freitag, 25.01.2008

Sync * Wild * MOS * Null

“In the world in which I began, sync was regarded with suspicion, and the privileged mode was the silent film. And not only that, but there was a privileged piece of apparatus; there was a camera that was the politically correct kind of camera to have. And that camera was the Bolex. It makes me nostalgic just to even think of a Bolex. […] And if you had a Bolex it was already a kind of credential. And I never owned a Bolex, so I was suspect.”

[Morgan Fisher, filmmaker, painter and artist, and Yve-Alain Bois, Harvard University, talking about expressivity, richness of life, abundance, film as a medium, sound, sync, time, picture, film and cinema history. Public open video lecture with students and faculty of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, 2007]

Schreiben Sie einen Kommentar

Sie müssen angemeldet sein, um zu kommentieren. Ein neues Benutzerkonto erhalten Sie von uns, bitte dazu eine Email mit gewünschtem Username an redaktion(at)newfilmkritik.de.


atasehir escort atasehir escort kadikoy escort kartal escort bostanci escort