MONOLOGUE PROJECT CRITIQUE!
FOR NEXT WEEK
EXERCISE: LOGICS OF THE CUT
2-minute piece.
11 shots (the shots do not have to be of even length).
The camera doesn’t move (within each shot).
The logic—there should be a logic—which connects this sequence of shots should not be visually obvious.
VIEWING
Watch all seven pieces and take detailed notes specifically about the way in which editing takes place differently in each one. What functions do the cuts perform in each? How do the cuts structure the time and space of the videos? How do they influence the way you process time perceptually while watching them? Do the cuts jar you or do they feel comfortable, regardless of what the artist’s intentions might have been? (In our present, rapid-fire, information heavy times, we have become used to the most radical kind of cutting, so much that we don’t pay much attention to cuts anymore.) List some of the effects that occur—specifically—when one image rubs up against another, through editing. Is there a specific kind of editing in these videos that’s different from the editing styles encountered in more conventional (i.e. mainstream film) settings?
Arthur Jafa—Love is the Message, The Message is Death (2016)
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Ulysses Jenkins—Inconsequential Doggereal (1980)
Valie EXPORT—Seeing Space Hearing Space (Raumsehen und Raumhören)
Anne McGuire—The Telling (2003)
Omer Fast—CNN Concatenated (2004)
Lynda Benglis—NOW (1973)
Dara Birnbaum – Kojak Wang (Pop Pop Video) (1978)