That’s what cinema is, single frames. Cinema is between the frames.
light … movement … sun … light … heart beating … breathing … lightJ.M.: For Eisenstein it’s a collision, to you it’s… ?
P.K.: Yes, it can be a collision. Or it could be a very weak succession. There are many, many possibilities. It’s just that Eisenstein wanted to have a collision – that’s what he liked. But what I wanted to say is: Where is, then, the articulation of cinema? Eisenstein, for example, said: it’s the collision of two shots. But it’s very strange that nobody ever said that IT’S NOT BETWEEN SHOTS BUT BETWEEN FRAMES. It’s between frames where cinema speaks. And then, when you have a roll of very weak collisions between frames — this is what I would call a shot, when one frame is similar to the next frame, and the next frame, and the next frame, and the next frame, and the next frame — the result that you get when you have just a natural scene and you film it, this would be a shot. But in reality you can work with every frame.–Peter Kubelka, interviewed by Jonas Mekas, Film Culture 44, 1967, p.45.
¿De qué hablamos?
(R)evoluciones audiovisuales Alain Bergala Apropiacionismo A proposito de niza Arte Arte Sonoro becas Carlos Muguiro Celuloide Cine cine contemporáneo Cine Ensayo cine experimental Citas diario de rodaje Digital Dreyer experimental Godard Hollis Frampton Javier H Estrada Jean Cocteau Jean Epstein Jean Luc Nancy Jonas Mekas La bella y la bestia lav lenguaje Lumiere Manuel Asín Marcel Broodthaers Master LAV Maya Deren Mekas Mutaciones Nathaniel Dorsky Nuria Cubas Pensar Perec Pere Portabella programa sonido video videoarte video arte