Separating the Cinemas and Bringing Them Back Together
Chouinard, Justin L.
MetadataShow full item record
"Separating the Cinemas and Bringing Them Back Together " investigates the presence of cinema in varied projected and non-projected forms. The narrow definition of cinema as being strictly limited to projected forms of the illusion of movement is expanded to explore alternative forms of cinematic works and techniques. Recognizing such enables us to become aware of the major modes cinema: The Cinema of Motion, The Cinema of Light + Time and Cinema Objects . Beyond these modes, cinema in alternative forms is also found through analogy, metaphor, and artistic expression in the authors Emulsion Studies series. Chapter 1, "Cinema Outside of Projection and The Modes of Cinema" outlines and defines the two major modes in which we perceive cinematic motion; what I call Conscious and Unconscious Mental Events —terms that are applicable to projected and non-projected strips of film. These terms are first applied to two consecutive frames occurring on the strip and then later applied to multiple images in an image sequence on the film. The Conscious Mental Event is then explored further to stress its significance in experimental films such as those made without the aid of a camera and films which address the physicality of the film medium. Finally, the chapter closes with a distinction between the major modes of cinema; The Cinema of Motion, The Cinema of Light + Time , and Cinema Objects . Chapter 2, " Mothlight in The Cinema of Motion and as Cinema Object" concerns itself with the application of the terms introduced in Chapter 1 to Stan Brakhage's seminal film Mothlight (1963). This film was chosen for its unique approachability as an art piece viewable as a projected, cinematic experience and as a physical cinematic structure/cinema object. Brakhage made the film by placing various plant life, insects and other organic material between strips of mylar editing tape, thus creating a film comprised of physical elements as opposed to a film reliant on images in emulsion. Despite its important role in the history of film art, Mothlight has been discussed very little as a projected cinematic work let alone as an non-projected structure. This chapter details Mothlight in both projected and non-projected states, allowing us to discover terms such as Sequential Motion and Erratic Motion to further our understanding and awareness of motion perception in the cinematic arts. Chapter 3, " Emulsion Studies : Separating the Cinemas and Bringing Them Back Together" applies the terms and conditions discussed in the previous chapters to the author's artistic works. Through varied media pieces, The Cinema of Motion, The Cinema of Light + Time, and Cinema Objects are found in conversation with each other. Media art pieces are broken down to their bare components to discover where the modes of cinema exist and where they overlap. The chapter concludes as cinema is found even beyond the prescribed modes of cinema through analogy, metaphor, and artistic expression.