Conducting the first comprehensive study of films that do not move,
Justin Remes challenges the primacy of motion in cinema and tests
the theoretical limits of film aesthetics and representation.
Reading experimental films such as Andy Warhol's Empire (1964), the
Fluxus work Disappearing Music for Face (1965), Michael Snow's So
Is This (1982), and Derek Jarman's Blue (1993), he shows how
motionless films defiantly showcase the static while collapsing the
boundaries between cinema, photography, painting, and literature.
Analyzing four categories of static film--furniture films, designed
to be viewed partially or distractedly; protracted films, which use
extremely slow motion to impress stasis; textual films, which
foreground the static display of letters and written words; and
monochrome films, which display a field of monochrome color as
their image--Remes maps the interrelations between movement,
stillness, and duration and their complication of cinema's
conventional function and effects. Arguing all films unfold in
time, he suggests duration is more fundamental to cinema than
motion, initiating fresh inquiries into film's manipulation of
temporality, from rigidly structured works to those with more
ambiguous and open-ended frameworks. Remes's discussion integrates
the writings of Roland Barthes, Gilles Deleuze, Tom Gunning, Rudolf
Arnheim, Raymond Bellour, and Noel Carroll and will appeal to
students of film theory, experimental cinema, intermedia studies,
and aesthetics.
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