Di Franz Shulze by Mies Van Der Rohe

By Mies Van Der Rohe

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Luc Moullet, ‘‘Sur les Brisees de Marlowe,’’ Cahiers du cinema, 93 (March 1959). Often attributed to Godard, this celebrated sentence was used by Antoine de Baecque as a title for a chapter on New Wave politics and aesthetics in Cinephilie, Invention d’un regard, histoire d’une culture, 1944–1968 (Paris: Fayard, 2003). Serge Daney, Postcards from the Cinema (Oxford: Berg Press, 2007), pp. 17–18. Actually, Daney recounts not his observation but Jacques Rivette’s description of this ‘‘abject’’ camera movement.

Serge Daney, Postcards from the Cinema (Oxford: Berg Press, 2007), pp. 17–18. Actually, Daney recounts not his observation but Jacques Rivette’s description of this ‘‘abject’’ camera movement. Chapter 2 THE EDITOR’S DISCOVERY OF FORM Even when taken by a neophyte, or by accident, raw footage can be innately fascinating in a manner different from pure animation, for it is based on photography. Naturally, a talented animator’s drawings exert their own special fascination, but they are of a different order.

Television changes all this, as Bazin points out in the final surprising sentence of his page of notes; for if televised, ‘‘the documentary becomes contemporary with the spectator,’’ who is ‘‘led to participate in an event’’ taking place live before the camera. Today, television serves mainly to exhibit what has been previously recorded, but to Bazin, its theoretical significance lies in its potential for simultaneity, something still exploited in sporting events, the Oscars, newsflashes during disasters, and so on.

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