To add to my collection of posts on the long take, one from Either/Or/Bored, titled, Slow Cinema and The Long Take.
Nagging feeling it is already mentioned in a previous post. What the heck.
Links in there to: Top 15 Amazing Long Takes (and onwards to other film lists), Pasolini’s essay, Observations on the long take, which must already be linked to somewhere else in COTA. Who cares, a blog is a searchable database, Mark le Fanu’s, Metaphysics of the “long take”: some post-Bazanian reflections, and to a film mag 16:9 essay by Mathew Flanagan, Towards an Aesthetic of Slow in Contemporary Cinema. Also, the first pic I have seen of Bazin. Didn’t imagine him like that at all.
FILM ESSAY GODARD Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard
August 19, 2008
FILM ESSAY Modifications and Expansions of Bazin’s “Faith in Reality” in the 1960s Works of Jean-Luc Godard by Arnab Majumdar
August 9, 2008.
Mark Le Fanu
(author of The Cinema of Andrei Tarkovski ; Mizoguchi and Japan )
Film Quarterly, vol 57, No 3, pp 23-33 ( 2004)
The tools of digital filmmaking are transforming all aspects of cinema, including production, postproduction, and exhibition. In the process, they are altering the visual characterisitics of the moving image and changing the viewer’s perceptual understanding of the nature of cinema, leading to the emergence, for the first time in the medium’s history, of filmic artifacts.
….”reads” a scene very differently than film does. One of the unmistakable hallmarks of DV is its clarity and depth of field. DV tends to record everything in deep focus and with extreme sharp focus, whereas varying degrees of shallow focus are the norm for images shot on film. Most shots have a limited focal plane, as determined by the speed of the film, the f-stop and the amount of light available. Even celebrated deep-focus films also include numerous shots where the focal plane is restricited. In contrast, DV produces deep focus as a kind of auto-default, and filmmakers working in the format studiously try to avoid this look.
Price wonders what Bazin, who advocated deep focus, would think of DV, suggesting he would have thought it good. But he then goes on to consider the paradox of film looking more alive than DV, despite being grainy. Films like Lawrence of Arabia, North by Northwest and Citizen Kane that have been digitally re-mastered for DVD have a very different feel from the film versions.
A few other important differences between film and digital are mentioned.
From Film Studies For Free:
Observations on film and Film Art: showing what can’t be filmed.
David Borwell, 4 March 2009, on David Borwell’s website on cinema.