The Remembered Film by Victor Burgin

By Victor Burgin

The Remembered Film addresses a formerly neglected element of cinema: the remoted fragments of movies, iconic pictures or scenes that fleetingly go our perceptions and innovations during way of life. Written through the influential theorist Victor Burgin, it offers an intensive new mind set past traditional cinema, and when it comes to our day-by-day existence.

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By Victor Burgin

The Remembered Film addresses a formerly neglected element of cinema: the remoted fragments of movies, iconic pictures or scenes that fleetingly go our perceptions and innovations during way of life. Written through the influential theorist Victor Burgin, it offers an intensive new mind set past traditional cinema, and when it comes to our day-by-day existence.

Show description

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I don’t feel I’m giving up my privacy. Just because people can see me doesn’t mean it affects me. I’m still alone in my room, no matter what. You’re naked sometimes, is this pornography? 3 Implicit in the questions that Jennifer Ringley chooses to answer is the charge that she is an exhibitionist. Media coverage has tended to assume the charge as proven. The first of many newspaper articles about Jennifer Ringley, in the Philadelphia Inquirer, opens with the observation: ‘In another time, before the Internet, Ringley might have remained a gifted .

On one 52 particular occasion, however, Jenni’s show provoked an e-mail threat of physical violence so extreme that it led her to shut off her camera for a while. ‘I hid in my room for three days’, said Ringley. ’31 The threatening e-mail message that Jennifer Ringley received in response to her reality-testing contained the demand that she perform a striptease for the camera. A popular mtv series lays bare the daily lives of a group of ‘twenty-something’ people sharing an apartment. The programme is called ‘The Real World’.

If I replay them I can see relations of antithesis between them: town and country, old world and new, East and West. I can also see figures of antithesis within them: the urban park in Tsai MingLiang’s film is a scene of devastation, a wasteland pitted with flooded craters and littered with uprooted stakes, spattered at the edges by red spots of flowers in tubs, suggesting the carnage of warfare in a place of peaceful recreation; the verdant idyll in Powell’s and Pressburger’s film is studiously oblivious to the World War raging beyond its tranquil frame.

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