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have always found an underlining conflict in cinema between the poetic and the factual, between making film attractive and making it true. What if the ornamentation of narrative was removed; leaving only the floating fragments of time, exposing some areas and hiding others until our perceptions of the image reveal as much as they conceal?
The beauty of cinema has become reduced to disjointed imagery; brief moments that pass on the side of a bus or I have always found an underlining conflict in cinema between the poetic and the factual, between making film attractive and making it true. What if the ornamentation of narrative was removed; leaving only the floating fragments of time, exposing some areas and hiding others until our perceptions of the image reveal as much as they conceal?
The beauty of cinema has become reduced to disjointed imagery; brief moments that pass on the side of a bus or within the pages of a magazine, adverts on television that sell time in seconds. It is common to feel a sense of familiarity with a film without ever having the need to experience it. Time becomes of paramount importance over the seductive image, our escapism, and our lives in general. Scenes within films that are longer than a few minutes are seen as arduous by critics, the apparent agitation of those shuffling in their seats are a result of the fast paced consumption of entertainment.