Holly Rogers
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780190469894
- eISBN:
- 9780190469931
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190469894.003.0010
- Subject:
- Music, History, Western
Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual ...
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Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged in such a way as to bring to the fore the conventions of mainstream cinematography and the languages of mass media. The result is not audiovisual synchronicity, but rather collision, or dissonance. Through the close reading of several found-footage films, this chapter traces the evolution of an activated form of audiovisual consumption that arises from a process of alienated listening.Less
Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged in such a way as to bring to the fore the conventions of mainstream cinematography and the languages of mass media. The result is not audiovisual synchronicity, but rather collision, or dissonance. Through the close reading of several found-footage films, this chapter traces the evolution of an activated form of audiovisual consumption that arises from a process of alienated listening.
Bill Nichols and Michael Renov (eds)
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816648740
- eISBN:
- 9781452945972
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816648740.001.0001
- Subject:
- Film, Television and Radio, Film
Péter Forgács, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical ...
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Péter Forgács, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. This book offers an exploration of the imagination and skill with which Forgács reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future.Less
Péter Forgács, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. This book offers an exploration of the imagination and skill with which Forgács reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future.
Tyrus Miller
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816648740
- eISBN:
- 9781452945972
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816648740.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter focuses on Péter Forgács’s two films Wittgenstein Tractatus and Bourgeois Dictionary. Both films utilize amateur film footage and stand out for their explicitly reflexive, metapoetic ...
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This chapter focuses on Péter Forgács’s two films Wittgenstein Tractatus and Bourgeois Dictionary. Both films utilize amateur film footage and stand out for their explicitly reflexive, metapoetic treatment and their innovative, nonnarrative formal structure. In fact, both films share overlapping film materials and explore linguistic and quasi-mathematical frameworks for organizing the found images and motivating their potential meanings. Music, voice-over, image, and text stand in a highly complex and often explicitly divergent or paradoxical relationship to one another. Wittgenstein Tractatus could be characterized as a poetic montage of verbal statements and visual documents that resonate with the historical pathos of the Central European, bourgeois, Jewish lifeworld that Wittgenstein shared with the filmed subjects of Forgács’s found footage.Less
This chapter focuses on Péter Forgács’s two films Wittgenstein Tractatus and Bourgeois Dictionary. Both films utilize amateur film footage and stand out for their explicitly reflexive, metapoetic treatment and their innovative, nonnarrative formal structure. In fact, both films share overlapping film materials and explore linguistic and quasi-mathematical frameworks for organizing the found images and motivating their potential meanings. Music, voice-over, image, and text stand in a highly complex and often explicitly divergent or paradoxical relationship to one another. Wittgenstein Tractatus could be characterized as a poetic montage of verbal statements and visual documents that resonate with the historical pathos of the Central European, bourgeois, Jewish lifeworld that Wittgenstein shared with the filmed subjects of Forgács’s found footage.
