【搬运】斯蒂芬·布鲁默评论这部电影
#1 - 2024-1-31 02:46
Blackwell (不解释 你懂的)
以下文本来自于：https://vimeo.com/846377936/f974d3c56f
Hello and welcome to this commentary for Ed Ackman and Colin Morton's pri Tota. I'm Stephen Broomer of Black Zero Pri Tota is a classic piece of Canadian alternative animation. It came from Winnipeg home to one of the country's most exciting film scenes, one of deeply entrenched renegade sensibilities.
Ed Ackerman made the film in collaboration with the writer Colin Morton Morton, a poet who's had a long engagement with the Dades tradition of sound poetry provides the reading to which Ackerman's stop motion animation corresponds what came first, the chicken or the egg.
Ackerman's typewritten letters correspond to Morton's red text in a seamless way, an illustration of cinema's oiled machine working properly, A perfect synchronization of the frame and the wave. Morton's text is inspired by the data artist Kurt Schwitters Urinate Sonata in primitive sounds a work that Schwitters composed in the sense that one would compose a sonata structured in four movements, and which is perhaps best explained as a score, a poem that rejects the stylistic conventions of poetry.
A poem as a force of nature. Schwitters in his contemporaries broke from the semantic units of text, embracing instead, rhythm and sonic character, repetition and variation. A vanguard repudiation of the communicative strictures of speech ackerman's typing breaks decidedly from the traditional geometries of the typed page In a dance of nonsense syllables, swirling like vocalized sounds in a mouth, Preity two tough finds, visual correlatives of sonic emanations against the logic and bias of communication.
Its letters stray and frac turned overlap blotting into and out of the frame. Shifting scale. The minimal composition plane restricted to the frame itself makes the punctuation of these phrases into a violent recession of image and word.
It is against the continuity of the printed page, the stands of the typewriter scroll. Nevertheless, the nature of this collaboration begs an important question. Do the semantic prisons of text and sound endure in pri to ta, Ackerman and Morton's partnership becomes mutually illustrative.
The voice and externalization of our own reading the typed letters, a correspondent sign of the voice and illustration is inevitably explanatory.
Hello and welcome to this commentary for Ed Ackman and Colin Morton's pri Tota. I'm Stephen Broomer of Black Zero Pri Tota is a classic piece of Canadian alternative animation. It came from Winnipeg home to one of the country's most exciting film scenes, one of deeply entrenched renegade sensibilities.
Ed Ackerman made the film in collaboration with the writer Colin Morton Morton, a poet who's had a long engagement with the Dades tradition of sound poetry provides the reading to which Ackerman's stop motion animation corresponds what came first, the chicken or the egg.
Ackerman's typewritten letters correspond to Morton's red text in a seamless way, an illustration of cinema's oiled machine working properly, A perfect synchronization of the frame and the wave. Morton's text is inspired by the data artist Kurt Schwitters Urinate Sonata in primitive sounds a work that Schwitters composed in the sense that one would compose a sonata structured in four movements, and which is perhaps best explained as a score, a poem that rejects the stylistic conventions of poetry.
A poem as a force of nature. Schwitters in his contemporaries broke from the semantic units of text, embracing instead, rhythm and sonic character, repetition and variation. A vanguard repudiation of the communicative strictures of speech ackerman's typing breaks decidedly from the traditional geometries of the typed page In a dance of nonsense syllables, swirling like vocalized sounds in a mouth, Preity two tough finds, visual correlatives of sonic emanations against the logic and bias of communication.
Its letters stray and frac turned overlap blotting into and out of the frame. Shifting scale. The minimal composition plane restricted to the frame itself makes the punctuation of these phrases into a violent recession of image and word.
It is against the continuity of the printed page, the stands of the typewriter scroll. Nevertheless, the nature of this collaboration begs an important question. Do the semantic prisons of text and sound endure in pri to ta, Ackerman and Morton's partnership becomes mutually illustrative.
The voice and externalization of our own reading the typed letters, a correspondent sign of the voice and illustration is inevitably explanatory.
Primiti Too Taa