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Anna Biller - Shorts
Shown at Deeper into Movies @ Moth club
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Rosa Aiello - Temper
Outpost interview: http://www.norwichoutpost.org/calendar/123-rosa-aiello
MW: Could you reveal any other horror tactics that you've planted into the filming or editing?
RA: Something to do with paralysis of point of view. You want to turn your head to see what's following you, but you can't. Things are held longer than you can stand (a tone, a note, an angle, something unsaid, something heavier).
MW: You spoke about your interest in the multiple meanings of the word Temper , like that it can mean to soften metal yet harden metal. Whilst producing the film and considering the ideas about the show, were you referring to or applying to its definitions?
RA: I want it to refer to loss of control as much as it does to restraint. The visible characters hold a lot in, the audible characters let a lot fly. I felt pulled between two poles: the wild and free feeling of letting yourself hold something for a long time v. the discipline, and the oppressive or boring endurance of making yourself hold something for a long time. Maybe related are the simultaneous diverging timescales going on. The visible characters are wound up like manic toy workers, while the voices are doing a slow melt into frustration and eternal return. But the timescales are continuous and affect each other, and hopefully result in some third sense of time.
- Visual V Audio sense of time = third sense. RE Wishbone, the music, longing. Emotional V the restraint of the image. Heightened V every day
- Holding oneself together. Tightness
MW: Can you cite any influences from films or text that revolve around these ideas of shifting time, altering rhythms, or any other themes that you think may feed into it all?
RA: Hitchcock is a big one. For his use of form, for how he uses the camera. Music drives the videos I want to make most of the time. I’ve gotten ideas listening to the music of Miles Davis, Mica Levy, Laurie Spiegel, Danny Elfman, as examples. And listening to all kinds of reallife drone, like two planes passing and harmonizing, or the harmony between refrigerator hum, light bulb hum, and an electric toothbrush, or the sound of wind moving through garbage cans. I love Annie Baker's plays, she's a master of long holds, and of the rhythm of everyday speech, and she's so funny. Samuel Beckett helps me understand how to appreciate words for their rhythm, hypnotic, bumbling, poetic. For a long time I couldn't understand the actual words in the neighbours’ argument at all, but it was so musical, the cadences of their speech got into my head like a song.
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Rosa Aiello - Temper (its my stereo it isnt yours you didnt pay for it)
Domestic - The domestic gone malign.
Female acts in hyperdrive - cleaning, eating alone, washing, drawing curtains changing. Behavioural malfunction
Camera slowed down, like a drunk. Acts seem too fast, mechanical turned hysteric.
A glitch
Distortion
Tone - Unease, unsettling, internally
Gesture - tapping fingers
hands
contain or represent repression
Manipulative techniques - Distancing
Containing things in generalities
The feeling of specific experience in general everyday actions
Rituals of every day - Specific tone
Hyperdrive
Audience finish the experience in their viewing of it
Whats left out of frame, suggested
Distortion leaves gaps for an audience to feel
generalities - nothing surprising
- allows you a language to see and speak of it
Mundane activity is given an extra weight
Internal + External
Distance between sounds + individual
Record sound from the ear - on body recordings, as though in the body
Affecting techniques - might be our experience
Pushing into body
Mundanity
Accidental focus - corner of the eye
Fragments
HOW?
Master frame - zoom in post
Decaying image - authenticity
Pixels
Shift / in flux. Nothing concrete
Gaseous state
Perish in process of obscure self
Not knowing
Narrative - the sound is the narrative
On the noise
makes up for lack
Moyra Davey - Blue
how to manage personnel in work and be generous to others feelings without taking up all the roo
Leave gaps in work
Falsity --> showing you its a representation --> this is truthful
conformity - struggling to be.
Never makes it past a representation
This is more truthful
Don't pretend to represent reality
But the conformity of trying to be real
Virtual reality?
Stylish, silk, cool - contemporary mode
Using VR goggles
But this is shown in modest small ways
Like the VR glitches
The domestic setting is like an institutions
- Strange house
- Plastic, fake flowers
THE DOMESTIC INSTITUTION
Locked in
Straining to be outside
Confined
The window
Door + bird
Emphasizes the inside by the glass and the longing for an exterior
But its artificial
Caged itself through frames
Defamiliarization
Generalised Personal
Objets can contain effects, gestures and rituals too.
Not explain
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Barry Lyndon - Kubrick
Oil paintings
Light
Technical aiding the story - the push for new technology. Cause + reasoning. Think Portrait
Almost every Kubrick film is a showcase for some major innovation in technique – in 2001 it was the revolutionary visual effects; in The Shining, his mastery of the Steadicam. On Barry Lyndon, Kubrick and cinematographer John Alcott set themselves the task of shooting as many sequences as possible without recourse to electrical light.
The stately, painterly, often determinedly static quality of Barry Lyndon was at least in part dictated by this stylistic choice – lit only by candles, the actors in the many sequences of dining and gambling were under instruction to move as slowly as possible, to avoid underexposure. But it fits perfectly with Kubrick's gilded-cage aesthetic – the film is consciously a museum piece, its characters pinned to the frame like butterflies.
Kubrick and Alcott looked to the landscapes of Watteau and Gainsborough; the day-lit interiors owe a lot to Hogarth, with whom Thackeray had always been fascinated.
Subjected to the director's infamous regime of many, many arduous takes, their faces light up the film and the era, like a series of fine, carefully hung, oil portraits. Kubrick's cast may have been required to sit for these for days and weeks on end, but no one could say the results weren't worth it.
https://www.telegraph.co.uk/films/2016/07/27/kubrick-by-candlelight-how-barry-lyndon-became-a-gorgeous-period/
Story
Anticipation
Everything in life pre planned - Idea of fate.
Taped in
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Lynne Ramsey - Swimmer
Glimpses of people, drifting past shots
Trauma
Escape and running/swimming
Use of old radio
Nostalgia mixed with funfair sound
Folklore
Childhood - Almost peter pan + lost boys
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Zadie Smith - On Real Emotions & Disembodiment
I think you have to think of emotions as real, even when they are extremely alien to you, I think that’s the first step in having some form of communication
Min 10.
We (my husband and I) have been reading a lot of books by young women. How many times in these books, the character usually in the first person, something emotional will happen and instead of responding either in the narrative or verbally as you would in a ‘traditional novel’, will pinch a bit of their skin till it bleeds, or pinch their leg or hold their jaw. It’s so strange. As if the boy was a disassociated thing you know.
‘He said that to me and I put my fingernails into my hand until it bled’. I keep on finding these lines over and over again
That's very fascinating to me you know.
The idea of verbalising an emotion is quite distant. And the body is treated like this strange thing you have to drag around after you've finished your texting, emailing and virtual life. Why have I got this flesh bucket I need to carry around?
I keep finding this perspective. It’s new.
I don’t think it’s a sad thing. The arch of these novels every often seems to be that the character starts out very arch, embedded in ideologies and internet argument, and by the end of the book realises simple things like ‘I have a body, I might want a baby, love is complicated, you cant just love anyone in any direction.’
They learn these things that for us would have been first principles at the end. But I don't think that means they are slower. They are saying, ‘Here are these things we’ve been given, they don’t seem to have relevance to us, oh no wait actually I do have these flesh packet and it has various irrational desires and needs’
I am very engaged by it - the way they are writing - so disassociated from themselves’
Min 15.
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Kirsten Lepore - Bottle
Vimeo staff pick
Simplicity
The sameness / otherness in self and other
Idea of exchange
Economy of love
Animation good for shorts - suits the form
Use of location
Elements
Novelty
‘Cuteness’ / personification and identification
Appeal to inner child
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My Wrongs 8245-8249 and 117 - Chris Morris
https://www.theguardian.com/film/2003/feb/21/artsfeatures.television
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Koncert Zyxzen - Krzysztof Kieślowski
Power shots
Face CU in wides. Obnixious
Framing - whose ahead and behind
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Koncert Zyczen - Krzysztof Kieślowski
Cinema 16 - Europe
Driving force
The watcher - Who is the protagonist?
Observed intimacy - Moments of tenderness and also the observer figure
Steady camera work
Set up of oppositions in frames
Camera flows with movement and emphasizes - Focus from one act to another
Power play between male and females
Use of pop music mixed with Eastern European landscape and wildlife.
Youth culture.
The teacher being an antagonist
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Call me by your name - Luca Guadagnino
2 February 2018 - Lighthouse
Film stock
Sunlight
Sensual
Alive
Love of humanity, flesh and life
Seduction of that sensuality
Made one want ot be there, in the film, in the haze
Lovesick feeling in stomach
Lead performance - mesmerising
languidness
Holiday romance feeling
Tenderness of the characters
Level of personal independent and individuality accepted
The role of the parents - support
Moving
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Three Billboards Outside Ebbing, Missouri - Martin McDonagh
1 February 2018 - IFI
Red haze from posters
Gratuitous
Moments of tenderness
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Leviathan - Andrey Zvyagintsev
31 January 2018 - IFI Retrospective
Tone: Mix of humour and tragity
Lilya - Unknown and most real’ alluring characterCarries on her face
Ref Samantha Morton
The projection of the unknown
Acts - Doesn't speak
Small flickers in eyes
Moment of intense beauty - The whale and her CU response
Ref La Jetee frame
Meaning?
Fim unpredictable
The use of the unknownable - What happens off screen
The affair sex assault, Lilya’s death. Like Lilya - that which evades permeates.
Peoples motives are left open, acts come from desire, often primal and messy.
CINEMATOGRAPHY
Dawn, dusk and sea
Blueness
Look up Bluets - Maggie Nelson. Comparisons?
Yellow houses of village against the blue
Complimentary colours
Hypocrisy V comedy, humanity
Range of characters
All of humanity
No judgement
Caricatures have air of truth in them
Funny moments, piercing, the corruption of the high officials comedy doesn't lighten the darkness or threat of greed
Rare balance
Shots to remember:
- Omens - Drive past car with the back all knocked in.
- The skeleton of the whale seen after
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