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Download e-book for iPad: Abandoned Images. Film and Film's End by Stephen Barber

By Stephen Barber

ISBN-10: 1861897200

ISBN-13: 9781861897206

Broadway street in downtown la includes a unprecedented selection of twelve deserted movie palaces, all outfitted among 1910 and 1931. In such a lot towns world wide this sort of focus of unique cinema homes might were demolished lengthy ago—but in a urban whose identification is inseparable from the movie undefined, the structures have survived in general intact, a few of their interiors dilapidated and gutted and others remodeled and re-imagined as church buildings and nightclubs. Stephen Barber's deserted photos takes us within those outstanding constructions in an effort to comprehend the beginning and loss of life of movie as either a medium and a social event.

Due to the increase of electronic filmmaking and straight-to-DVD and on-demand distribution, the movie is shortly present process a strategy of profound transformation in either how video clips are made and the way they're watched. Barber explores what this implies for the cinematic adventure: Are videos wasting a few crucial component of their identity...

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Extra resources for Abandoned Images. Film and Film's End

Sample text

Every so often I would look up to watch the beam of light through the darkness above instead of the story on the screen. The light flickered, broke into several beams that corresponded to the action on the screen, and made it clear that the movie wasn’t only a story but a medium, a rolling stream of light in the darkness. Up above in the projection booth would have been a stream of celluloid rushing by at the rate of a foot a second, making one of those western movies a trail of photographs miles long.

Betty’s attention is immediately drawn to her purse, in which an unfamiliar box has materialized, and whose investigation, after the two lovers abruptly leave the cinema, will cause them both to vanish without trace, consigning them, on their dreamer’s awakening, to figures of obsession in a dark dream about film. When film’s figures (its momentary lovers, in Mulholland Drive and In Search of a Midnight Kiss) enter the space of abandoned cinemas – spaces left to disintegrate, as in the Million Dollar Theater, or else transformed, as into a hallucinatory nightclub, in the Tower cinema – they are immersed into a precarious, contrary terrain in which the residual aura of film’s aberrant imageries, and its industries’ often sinister history, has been intensified by the process of abandonment, and causes those figures to be engulfed by a power which far exceeds their habitual sensory capacities.

Film must be destroyed, or else becomes a detritus that accumulates in infinite quantities. Even the archives of national film museums possess an aura of obsolescence that results from the sudden blur in time, around the centenary of film, that rendered those archives’ precious resources void, since the digital projection of the same film content will infinitely enhance its visual textures, avoid its transportation, and elude the breakdowns and deteriorations that always plagued celluloid projection.

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Abandoned Images. Film and Film's End by Stephen Barber

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