It is still true that the eternal duality space / time, casual games in the film far outweigh the space.
is logical.
Time is more fickle, more abstract, more ductile, malleable and prone to gambling, I think.
And working with space as a concept may seem, at least at first sight, more complex, more rough, more intellectual and, why not say it more expensive.
But despite not having been so used, we find authors who gave a speech precisely articulated around the concept of space.
I refer not only to explicit as recent films like "Buried" or "127 hours", where a single stage becomes a character itself, or in examples like "The Exterminating Angel" by Luis Buñuel where space while taking a decisive and crushing undeniable role.
There are many and varied examples, and all with their own characteristics.
Today
came to want to talk about the space that becomes magical in hosting an impossible action and surprising.
The stage space as elusive.
That space that becomes at once closed and infinity.
The space is absorbed witness the breaking of the very rules that govern it, the space expands and collapses to the development of the story that he hosts.
and take advantage of to display and compare different but work-connected, two visual artists who have shown just a special interest in working as a concept space.
One is the experimental video producer, camera operator and cinematographer Zbigniew Rybzinski , which I talked about in this post, and the other Michel Gondry, the versatile director of commercials, video clips and movies.
Oscar winner for best animated short in 1983, portrayed in one frame, that of an empty room in principle, the evolution of 36 characters who perform 36 different actions (some interact with each other and sometimes not) without actually never cross.
himself had made hundreds of thousands of exhibitions, with an optical effect machine, which was almost a miracle endure the negative.
The result, eight minutes, is a disturbing and surprising story (with some touches of comedy that will no doubt appreciate.)
digital Seen through the eyes of this century, the piece also has the charm of the handmade, the result is still surprising, and the inevitable fascination those little imperfections that live and feed your footage.
director Michel Gondry is a Frenchman clearly marked by a very personal visual power and determined. Precisely
Scenario games on the staging, on spaces within spaces on the representation within the representation ( this is not a pipe , I would say that) are part of their identity label.
and many can remember, and face-to Rybczynski's short film clip that made this video the singer Kylie Minogue for her song "Come into my world", where the multiplication of characters and situations on the same scenario we come back as something magical and amazing.
years separate Rybczynski's short film of this video clip of Michel Gondry.
are also many concepts that separate the two pieces, but enough of that bind.
is clear that we can not compare the technical perfection, the styling and the twist that delivers the digital world to the proposal to Gondry and the pitch of the video clip, just remarkable that Tango is much more festive and entertaining than the first.
But in the end this circular space, the confluence of several streets and turn the camera that becomes "the room" of history. In this unique and infinite space which overflowed and contracts at the same time.
As a curiosity (there are many Gondry video clips that could bring here to compare, but let's leave it for another time) I leave you with a brief explanation by way of making of that Gondry himself made on his part.
games about space, although less visible, while games are always welcome ...
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