2008, Cinematic Folds: the furling and unfurling of images.
Edited by Firoza Elavia Image. Curation by Linda Feesey. 302 pages.
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Cinematic Folds: the furling and unfurling of images available in Toronto @
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Swipe Books, 401 Richmond St. W. #121
Vtape, 401 Richmond St. W. #452
Traditionally, the cinematic has been understood as the visual movement occurring from the rapid succession of one film frame to another. The notion of the cinematic in this book begins instead with an understanding that it is to be conceived as a mode of perception and experience of the world. Cinematic movement, it is argued, is what occurs in our perception of things, in the flow between the tangibility of the world, images (material/immaterial) and the mind. These infinite oscillations between world, image and mind, between what is mental and material and, what lies inside and outside film constitute the force fields of Cinematic Folds: the furling and unfurling of images. The zones between media experimentation, writing, reading and thinking come to resonate and flow with each other, enduring over the pages of this volume.
In the first section of this anthology, “Movement of Matter: Passion, Velocities and Rhythms,” the selected essays are inscribed by intensive movements that fold between sensations of horror, anxieties of abjection and, performance and sexuality among others. Each of the essays presents a possibility on the flow between matter-image (world) and image-matter (image). Drawing upon the construction of the world becoming-image and image becoming-world, the writers invite attention to the movements and relations between world, brain and image folding in and out of each other.
In the second section, “Invisible Spectrum of the Perceptible,” the writers are preoccupied with the impalpable life of images. These essays examine movements occurring in the interval between two images or movements or in that which occurs between world and mind. The writers signal the stops, gaps and transitions ensuing between things, drawing attention to immanent movement and to virtual time. Exploring the in between, these essays range from a discussion on colour theory, virtual cinécriture and atmospheric scores. (Firoza Elavia)
Contents:
Conceptualizing Cinematic Folds
FIROZA ELAVIA
Part One
Movement of Matter: Passion, Velocities and Rhythms
Hymn (2008)
JUBAL BROWN
Killer Artists: Taking Some Stabs at A Bucket of Blood and Color Me Blood Red
LOUIS KAPLAN
An affective aesthetics of fear: from Cat People to J-horror
ILS HUYGENS
Production Stills from Otto: Or, Up With Dead People (2007)
BRUCE LABRUCE
The Anxiogenic Cinema: A Consideration of Provocation and Distress in the Underground of the 60’s
CARLOS KASE
This Is Hardcore
JACK SARGEANT
Serial Killers
GB JONES
Flaming Pixels, Cosmic Puke: Ryan Trecartin’s A Family Finds Entertainment
JON DAVIES
Istvan Kantor, Machinery Execution
SHANNON BELL
Works from Still Life: Stilled Lives
DIANA THORNEYCROFT
Molecular Becomings: Of Grains and Cellular Mass
FIROZA ELAVIA
Part Two
Invisible Spectrum of the Perceptible
A Few Moments of Arousal in a Film by Martin Arnold
GEORGE TOLES
Grace Taking Form: Marey’s Movement Machines
ERIN MANNING
Collision and other art works
CARL BROWN
Electronic Color in Experimental Video Art
CAROLYN LEE KANE
The Force of Pixels: Woody Vasulka, Time/Energy Objects, and the Becoming-Image
TROY RHOADES
Untitled, from Kincora (2008)
DONIGAN CUMMING
Altered Body Maps and the Cinematic Sensorium
ANNA POWELL
The Entranced Spectator: A case of Dispossession or Three Films: Lynne Ramsay’s Morvern Callar, Salla Tykkä’s Lasso, and Maya Deren’s Ritual in Transfigured Time
MARIA WALSH
The Film To Come
STEVEN EASTWOOD
Fun TV
WILLY LEMAITRE AND ERIC ROSENZWEIG
Note from Margit
MARGIT BRUNNER
Abrashing The Ungiven, And Givenness Abrashed (14 lines)
LINDA MARIE WALKER
