Experimental Filmmaking and the Motion Picture Camera by Schlemowitz Joel;

Author:Schlemowitz, Joel;
Language: eng
Format: epub
Publisher: Routledge
Published: 2019-07-06T00:00:00+00:00

Notes

1 Leeder, Murray, The Modern Supernatural and the Beginnings of Cinema. London: Palgrave Macmillan, 2017, p. 52.

2 Frazer, John, Artificially Arranged Scenes: The Films of Georges Méliès. Boston: G.K. Hall & Co., 1979, p. 34.

3 Ibid., p. 60.

4 Ibid., pp. 91–92.

5 Ibid., p. 53.

6 Richter, Hans, The Struggle for the Film. Aldershot: Wildwood House, 1986, p. 58.

7 Hofacker, Marion von, “Richter’s Film and the Rose of the Radical Artist 1927–1941,” in Stephen C. Foster ed., Hans Richter: Activism, Modernism, and the Avant-Garde. Cambridge, MA: The MIT Press, p. 132.

8 Richter, The Struggle for the Film, p. 53.

9 Weinberg, Herman G., “A Visit With Hans Richter” (1951), in Saint Cinema: Writings on the Film 1929–1970. New York: Dover Publications, Inc., 1973, pp. 92–93.

10 Waldman, Harry, Scenes Unseen. Jefferson, NC, and London: McFarland & Company, Inc., 1991, p. 139.

11 Ibid., pp. 139–141.

12 Sitney, P. Adams, Visionary Film: The American Avant-Garde. New York: Oxford University Press, 1974, p. 55.

13 Ibid., p. 179.

14 Super8 Filmmaker vol. 4, no. 1, Feb 1976, p. 50.

15 Hammond, Paul, Marvelous Méliès. New York: St. Martin’s Press, 1975, p. 34.

16 Frazer, Artificially Arranged Scenes, p. 60.

17 Additionally, splices are sometimes distinctly visible in Méliès films, usually at the top of the frame (but sometimes bottom) as a fine white line.

18 Kuchar, George and Mike Kuchar, Reflections from a Cinematic Cesspool. Berkeley: Zanja Press, 1997, p. 11. Ellipis in the original.

19 Kevles, Barbara L., “Slavko Vorkapich on Film as Visual Language and as a Form of Art,” Film Culture vol. 38, 1965, pp. 1–46.

20 Huysmans, J. K., Against the Grain (A Rebours) (1884). New York: Dover Publications, Inc., 1969, pp. 18–20.

21 Harris, Neil, Humbug: The Art of P. T. Barnum. Chicago and London: University of Chicago Press, 1973, p. 77.

22 Smith, Jack, “The Perfect Filmic Appositeness of Maria Montez” (1962), Wait for Me at the Bottom of the Pool. New York: High Risk Books, 2008, p. 33.

23 Hironaga, Shuzaburo, The Bunraku Handbook. Tokyo: Maison Des Arts, Inc., 1976, p. 2.

24 Sontag, Susan, “A Note on Bunraku,” in David Rieff ed., Susan Sontag: Later Essays. New York: The Library of America, 2017, p. 340.

25 Beard, William, Into the Past: The Cinema of Guy Maddin. Toronto: University of Toronto Press, 2010, pp. 6–7.

26 Mann, Thomas, “Mario and the Magician,” Stories of Three Decades, H. T. Lowe-Porter trans. New York: Alfred A. Knopf, 1936, p. 552.

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