Professional Documents
Culture Documents
As Unit 2 Presentation Rhythms & Cycles
As Unit 2 Presentation Rhythms & Cycles
As Unit 2 Presentation Rhythms & Cycles
Assignment
http://www.youtube.com/watch?v=wY_YPPSFDpM
Henry Hills
A more experimental approach to rhythmic cutting
can be found in the work of American filmmaker
Henry Hills.
A New York filmmaker, Henry Hills formed a strong
alliance with the Downtown improvisers and the
"Language" poets in the 70’s. These musical,
language based and improvisational influences,
guided his film work toward a rhythmic, multi-layered
works filled with unpredictable changes and a striking
improvisational edge.
Below is a collection of his work
http://www.youtube.com/watch?v=hi3Bwwa5-hw
Elephant, 2003 Dir. Gus Van
Sant
The Director Gus Van Sant relies on long takes,
stedicam shots and minimal editing to reflect his
characters who are often trapped or facing inescapable
fates.
In his film Elephant a 2003 American drama film Sant
uses these techniques to chronicle the events
surrounding a school shooting, based in part on the
1999 Columbine High School massacre.
The film takes place a short time before the shooting
occurs, following the lives of several characters both in
and out of school, who are unaware of what is about to
unfold.
Elephant Clip
Watch the clip from Elephant. Note down how the
pace of the film creates a particular mood.
Think about the use of sound/music
Does the filming style allow you to see any details or
reflect on the story in a different way?
Would a different rhythm have created a different
effect?
Why do you think the film is called Elephant?
http://www.youtube.com/watch?v=UaHDf-m1sSo
Accumulation
‘In Elephant the ‘deliberate calm’ ‘creates a certain tension, without […] any
perceptible change in the rhythm or […] pace of events’ in the film tension
builds, threateningly, in anticipation of a future event’.
‘Fragments upon fragments of minute, ordinary actions are performed and
shown in an unhurried pace that fills us with increasing suspicion. This feeling is
hard to define. What is the source of this increasingly chilly atmosphere that
surrounds us? Of course, we know the story. We know what’s coming. This is
why we can register certain signs here and there (the spleen, the sadness, or
jealousy of the kids), then the more explicit, short little flashes of viewing Nazi
documents, of getting weapons through the Internet, and a rather ominous
moment when the kid with the most gentle face is writing down notes, sizing up
the cafeteria with a view toward a future use. Of course, all this illustrates the
mysterious nature of accumulation: how odd that we should hardly perceive the
approach of danger (turbulence), yet somehow we do sense it, experience it.
We collect the signals that anticipation can feed on. Not one of these is strong
enough to serve as a direct explanation of the massacre. These scattered
moments mentioned above blend into a faceless time of other time-killing
projects’.
Referenced from: http://unspokenjournal.com/i-tarr/vital-rhythms/
Capturing Time
‘Within five years, my home (this land) will transform into suburbia. As a
farmer and an artist, I display the realities of this transition in order to
rationalize and document my displacement from the land on which I was
raised. The trials and tribulations of American agriculture, its roles in
contemporary globalization, and its questionable ecological practices
create a foundation for my explorations. By displaying the past and
future of the farm, I have used our land to explore similarities between
commercial agriculture and suburbia, which reveal their social, cultural
and economic impacts locally, nationally and internationally.
Documenting the reality of land and appetite from agriculture to
suburbia, the decisions of our society reveal consumer models that
make us disobedient to our relationship with land and time.
Lifecycles
http://www.urbanplough.com/work.php
Stan Brakhage
Bill Viola
Mathew Barney
Godfrey Reggio