Superimposition
From The Art and Popular Culture Encyclopedia
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http://ajourneyroundmyskull.blogspot.com/2008/10/roland-topor-and-max-rongier-comptines.html
1975 LP Panic - The Golden Years which is listed in the Broken Music book. So with a history like this, why on earth did Philips release a children's record by him? Recorded in 1978, this beautiful release presents 8 songs written by Topor set to music by Max Rongier.
Dream sequence in La Prisonnière (1968)by Henri-Georges Clouzot
I love dream sequences in film. Every Disney film has nearly one. Always psychedelic. Film as a medium is particularly well-suited to impart dream visions, much better than previous visionary literature, which required more narrative realism.
An interesting juxtaposition here is Dante's Divine Comedy compared to its first film adaptation[1].
I guess it comes down to the boring but somehow unavoidably attractive literature vs. cinema debate I've been engaging in.
The debate is boring when you limit it to either/or, but interest if you view it from its technical angle, with fiction at the center.
Notions such as unfilmability provide the best entry point.
But that notion I was not thinking about when going to bed last night. I thought about cinematic effects in literature, a notion first put forward to my knowledge by Lotte H. Eisner in The Haunted Screen.
She writes:
- "Romantic authors such as Novalis or Jean Paul, while anticipating the Expressionist notions of visual delirium and of a continual state of effervescence, also seem almost to have foreseen the cinema's consecutive sequences of images. In the eyes ofSchlegel in Lucinde, the loved one's features become indistinct: 'very rapidly the outlines changed, returned to their original form, then metamorphosed anew until they disappeared entirely from my exalted eyes.' And the Jean Paul of the Flegeljahre says: 'The invisible world wished, like chaos, to give birth to all things together; the flowers became trees, then changed into columns of cloud; and at the tops of the columns flowers and faces grew. In Novalis's novel Heinrich von Ofterdingen there are even superimpositions."
She concludes:
- "It is reasonable to argue that the German cinema is a development of German Romanticism, and that modern technique [cinematography] merely lends visible form to Romantic fancies."
- "Another one via Girish: "In the fall of 1958, fifty years ago, the inaugural issue of Film Quarterly was published," writes editor Rob White, "and it is fascinating to revisit those first years, when the European New Wave cinemas generated a scintillating critical energy in a pioneer magazine. Antonioni proved to be particularly galvanizing; almost the entire fall 1962 issue was given over to Ian Cameron's 58-page study of the filmmaker's work. 'Antonioni's role in the cinema seems to me a fundamental one,' wrote Ernest Callenbach, introducing the feature, though not a party line." " --GreenCine
