cutting on the action

photography and film – facts, ideas, values



Came across some of these Herzog documentaries before but reappeared in a surf on something not that related purely serendipitously:

Mein liebster Feind – Klaus Kinski

Notes:  wiki: my best Fiend

Little Dieter Needs To Fly

Notes: Wiki: Dieter Dengler

notes: wiki: Little Dieter needs to Fly

Extract from Denglaers’ Escape from Laos


There is no doubt a personality disorder called STBOS -BWNTBSTMTACAU*: I need to say about Herzog’s non-fiction that he films it in feature film style, which is in sharp contrast to the default style coming from cinema direct/cinema verite tradition. Even his colouration and mis-en-scene is big-filmic. This has a strange but satisfying effect, a kind of equivalent visual effect to the aspects of the contrapuntal in music.

With this in mind, I am a little bit disappointed with some of the music he uses, particularly in films like Lessons in Darkness. Though music can be used to almost poke fun at the cinematic. In the oily-boy story – which is as riveting as any he has made – the music is what can only call kitsch because of its relation to the visual: that is, it is not kitsch in and of itself, but becomes so when associated with the particular visuals he uses. I would be prepared to argue this one! But it does need a sort of reply that includes the details in shot (moment-by-moment) specific film terms to explain why my opinion is wrong.

The music in Dieter does work very well unlike that in Lesson in Darkness. One is reminded of Dr.Strangelove: I can’t give chapter and verse right now, but will add to this post when I re-look at some extracts of the Kubrick.

Even if one can see where Herzog is going with all the heavy music with its deeply ironic tone, it is not as one-to-one as one might think on first seeing/hearing the film. There are many layers to the symbiosis between the music and cinematography in Lost. Repeated watching highlights subtler colours within the, at first, seemingly bleeding obvious purpose to this particular set of sound backdrops.

STBOS-BWNTBSTMTACAU* = Stating The Bleeding Obvious – But Wot needs To Be Said To Make Things Absolutely Unambiguous

May 7, 2009 Posted by | film analysis, Film and psychoanalysis, film directors, film editing, film music, film narrative, film theory, film [its techniques], free cinema, Kubrick, Music, narrative style, Werner Herzog | , , , | Leave a comment

Is Google Making Us Stupid?

Nicolas Carr writes in Atlantic Monthly (link from 3 Quarks) on reading and writing styles and technology. Though it deals with surfing vs. old fashioned reading, it also picks up on such fascinating arcanerie as Nietzsche having to resort to a typewriter when he couldn’t write by hand any more and what effect this had on his writing style attested to by contemporaries.

John Naughton [Observer, 22 June 2008 ], I Google, therefore I am losing the ability to think, takes up the cudgels bringing in mention of Sven Birkerts’ The Gutenberg Elegies: The Fate of Reading in an Electronic Age and the  notion that having it so readily to hand removes the need to remember it. Then he finishes with:

But people have worried about this since… well… the Greeks. In the Phaedrus, Socrates tells how the Egyptian god Theuth tried to sell his invention – writing – to King Thamus as ‘an accomplishment which will improve both the wisdom and the memory of the Egyptians. I have discovered a sure receipt

for memory and wisdom.’ To which the shrewd old king replied that ‘the discoverer of an art is not the best judge of the good or harm which will accrue to those who practise it… Those who acquire writing will cease to exercise their memory and become forgetful… What you have discovered is a receipt for recollection, not for memory.’

If you are talking about the web you are talking about hypertext, which can be revised by checking out The Electonic Labyrinth. One of the main points is that hypertext existed before the web. This particular website deals with the creative implications of digital hypertext — pointing out that hypertext itself existed before digitally hyperlinked hypertext — which can be read starting from the page, The non-linear tradition in literature.

I have written on the web as hypertext, including what a blog is and isn’t in this respect( e.g. TiddlyWiki ). When checking this post from Moleskine Modality, make sure to go to Eli Springer’s home page, then open up links in it to see how the new information is added to the original home page text. Stage I: open link Eli Springer in the home page then in that page, as an example, the link ‘moral change’ to show how all three sets of text are available on the same page. Note in each new text box, in the top right-hand corner, there is a choice to close the box down. It is possible to open every link in the home page, and every link in (for simplicity) the Eli Springer page.

In the Carr is the argument that something radical is happening to both reading and writing, in the suggestion there might be some sort of cognitive change going on. This, from the background of writing being something we learn as opposed to spoken language which we are essentially born with the ability to use.

Since the brain is an associative organ (but this only works because it had something stored away in memory) it seems more likely that the web, as the ultimate, though not infinite, hypertext, is echoing what the brain is already good at. And that linear texts, though traditional and popular, are the anomoly. It is just that the technology took time to catch up with the the way the brain works. Saying this does not mean that surfing is more efficient than reading books.

There can be no better analogy to this than conversation. There are different styles, but in the main we latch onto keywords and respond to them, much in the same way we are attracted to a particular link in a webpage. When we pick out a keyword from someone else’s speech, we might intervene if we know something about the subject and want to say what we know or think. We often semi-switch off our concentration when someone is saying something we feel we already know a lot about, but switch back on (if we are good listeners) when words and phrases alert us.

A conversation between two people, is often surrounded by other external events such as other people talking who may not be connected with that particular conversation and other things going on which the couple talking are not interested in. It is not unknown for a person to be distracted by something happening even if the conversation is riveting. A child falls off his tricycle; a car backfires; a light-bulb blows; a woman breaks down in tears. This can stop a conversation and lead to the two people talking about the ‘external’ event. What is this if not coming across something startling in a webpage and taking the link to find out what it offers?

Leaving aside surfing as a way to pass time, there is ‘good’ surfing and ‘bad’ surfing just like good conversation. Good surfing is a discipline in which the surfer does not stray too far from the intended object just like good research from books. The worst surfing is a kind of Freudian free-association, in which at the end of the session you have no idea why you started, and may be a bit vague as to why you began. A good surf always stays within bounds or reason because there is a limited goal and because within each brain is a core of what the individual possessing it considers important or significant. So a fact already known or an idea already familiar, will be skipped or rapidly scanned. Isn’t this what we do in books? Book index people check what is in a book by checking its index. This may lead one to decide not to read a particular book because enough keywords do not appear to overcome a threshold of interest or relevance. So what is the difference between all this and leaping over web pages to get to one you think is important?

June 19, 2008 Posted by | books, culture, digitisation, hypertext, Internet, Literature, narrative style, neuroscience, Nietzsche, reading, science, Writing | , , | Leave a comment

Showcase: DailyLit

Stephanie at So many Books has been using DailyLit, which I only heard of through her. Several of her readers say they prefer a book in the hand, mostly because the instalment was too short: they just couldn’t wait!

I decided to go for Anna Karenina. But when the confirmatory email came through, I got the option to order the first episode straight away, which I felt compelled to do. Though the intro to AK is so often quoted

Happy families are all alike; every unhappy family is unhappy in its own way

I forgot how funny the first few paragraphs were.

Experiencing such a small dose of Tolstoy it is obviously not going to suit many ardent readers. But there is something to be said for having to wait. Let the small, enjoyable dollop stew for 24 hours. Build up the anticipation for the next part. Spend some time reading around the book and author while waiting. In any case you read so much about so many things, the next episode will be there before you know it. (Actually, in advanced settings you can chose from three size settings to get more per email or even get the next episode straight away…). Let’s face it, this is for people who are meant to be working, trawling through the emails first thing in the morning.


For an inexperienced writer puzzling over which narrative voice to use, the first part of Anna Karenina could be as a reminder to how an intimate tone can created from the limited omniscient point of view. No need to be Tolstoy to see setting off in the first person can end up with too much of the author in the narrator.

I mentioned alter ego in the last post. There has been a study of avatars and their authors in gaming, called Alter Ego, which may have something to offer to the perennial questions about the author insinuating himself/herself in his/her own fiction.

Here are two over-views of Philip Roth’s oeuvre from on alter ego {1} {2}.

November 6, 2007 Posted by | alter ego, fiction, First lines, literary persona, Literature, narrative style, Novel, Novelist, Openings, Writing | , , | 3 Comments