Interiors: Wavelength (1967) and The living room (2000), by Michael Snow
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2022.184312Keywords:
Michael Snow, Experimental cinema, Comparative analysisAbstract
The article proposes an analysis of Michael Snow’s The living room (2000), made during a period when the filmmaker used digital technologies in an experimental and playful way. The analysis will be made by means of comparisons with previous works by Snow, especially Wavelength (1967), a landmark in structural cinema, and with works by other filmmakers (Georges Méliès and Alfred Hitchcock), as well as by visual artists from different medias, such as painting and collage. Our hypothesis is that Snow’s films represent a contemporary scopic regime that might be called, following Pascal Bonitzer, “telescopic perspective”. We hope to demonstrate that the filmmaker’s work goes beyond the frame of reference usually attributed to it, including in its genealogy the crisis of perceptual experience already in place since the visual modernity of the 19th century.
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Referências audiovisuais
NOTORIOUS (Interlúdio). Alfred Hitchcock, Estados Unidos da América, 1946.
SSHTOORRTY (Sshtoorrty). Michael Snow, Canadá, 2005.
THE living room (A sala de estar). Michael Snow, Canadá, 2000.
WAVELENGTH (Comprimento de onda). Michael Snow, Estados Unidos da América-Canadá, 1967.
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