Gymnopedie No. 1 and David Bordwell at 16:9

...melancholic reading...


Bordwellians, anyone?

Good Morning film world! I think I am back again to my research on a couple of contemplative films in preparation for my ________. I have to reread the interview from 16:9, a Danish film journal. I just want to share my notes, mostly taken from the third instalment of the interview of David Bordwell, the famous film scholar of UW, with Jakob Isak Nielsen, entitled: Part III: Writing on Film Style.

All were quoted from the interview:

"We still lack a comprehensive account of color in film, we lack a comprehensive account of camera movement, we lack a comprehensive account of many, many aspects if sound."

"We don't even have a study of the history of lighting, something so essential to all films --- or even a portion of that history, say, lighting in the classical Hollywood cinema or the 30s even."

"It would be wonderful if they [studies on lighting] could be comparative in terms of periods."

"I think there are different ways to go on this but I do think that poetics in general --- and stylistics in particular --- tend to be very comparative."

"One of the reasons that I think fewer [film] scholars pick up the poetics perspectives and try to develop it is because it seems focused on minutia or triviality. It inquires into highly esoteric issues and I have to say it parallels the standing of stylistics and poetics in literary studies."

"Whereas the kind of stylistics that I'm proposing by concentrating on denotation and then secondarily on expression and decoration says 'actually referential meaning matters a lot.'"

From Part I- Hitchcock, Hartley and the Poetics of Cinema:

On Hitchcock:
"He seemed to be just a master --- a virtuoso of the film medium --- and he was almost our film school. Hitchcock --- more than any other filmmakers, even European filmmakers --- was the director people felt they could learn most about cinema from."
"I prefer how to work on directors who are underappreciated; on directors about which I feel I have something original to say."

Jakob asks a question:
"To ask about the poetics governing any filmmaking tradition is to pose at least four broad questions”:

1. Overarching form: by what principles are the films created as distinctive narrative wholes or “other” wholes?
2. Stylistics: how is the film medium deployed in a film or body of films?
3. Spectatorial uptake: how do form and style shape the uptake of films?
4. Historical poetics: how do form and style exhibit patterns of continuity and change over time and how might we best explain these patterns?"
"I was only concerned with the denotative function of style. Again it is a matter of seeing how much I can squeeze out of a single concept. I'm interested in the expressive functions, I'm interested in the decorative functions."

[Internet here sucks as usual.]