2002-12-27 18:59:15尚未設定
Out of The Field (11)-On Mulholland Drive
*** After reading my series of articles ( please from NO.1 ) , you may have a clear idea about how to deconstruct postmodern films.
*** I will help you and myself to avoid a mind-crash on David Lynch 's Mulholland Drive and unfold the mystery in Memento.
Although the pictorial frame has the intention to confine all the components, the representation of the whole is limited to an illusion. If watching the pictorial frame produces the consciousness that what we see is the representation of the whole, the consciousness is under the spell of an illusion. In other words: the consciousness is limited and keeps the mind in a narrow, fixed, inflexible state. Philosophy has the aim to explor the limits of knowledge and to expand consciousness.
There are many works of arts, pictorial frames, which are created from this philosophical background: paintings that invite for contemplation and gradually reval the existence of an unknow world. These pictorial frames demand an investment of time from the side of the spectator, who has to digest his/her reflections time and again. The interaction between the pictorial frame and the spectator is part of a larger frame that involves time. With the invention of cinema the frame is not longer restricted to the pictorial one, but can be elaborated by the " mobile frame ".
Spectators watching a movie, created with the technique of the mobile frame, experience an activation of their consciousness, which is demanded to participate and create the connections. The articulation of the data is not precooked, the material is still raw, unintelligible on the first sight: you will feel the urge to see the film again, or you never want to see such a film again. This kind of movie usually starts in the art house, but as time goes by it may be adopted by the mainstream, as if the collective consciousness is in the educational or developmental process of expansion, indeed.
*** I will help you and myself to avoid a mind-crash on David Lynch 's Mulholland Drive and unfold the mystery in Memento.
Although the pictorial frame has the intention to confine all the components, the representation of the whole is limited to an illusion. If watching the pictorial frame produces the consciousness that what we see is the representation of the whole, the consciousness is under the spell of an illusion. In other words: the consciousness is limited and keeps the mind in a narrow, fixed, inflexible state. Philosophy has the aim to explor the limits of knowledge and to expand consciousness.
There are many works of arts, pictorial frames, which are created from this philosophical background: paintings that invite for contemplation and gradually reval the existence of an unknow world. These pictorial frames demand an investment of time from the side of the spectator, who has to digest his/her reflections time and again. The interaction between the pictorial frame and the spectator is part of a larger frame that involves time. With the invention of cinema the frame is not longer restricted to the pictorial one, but can be elaborated by the " mobile frame ".
Spectators watching a movie, created with the technique of the mobile frame, experience an activation of their consciousness, which is demanded to participate and create the connections. The articulation of the data is not precooked, the material is still raw, unintelligible on the first sight: you will feel the urge to see the film again, or you never want to see such a film again. This kind of movie usually starts in the art house, but as time goes by it may be adopted by the mainstream, as if the collective consciousness is in the educational or developmental process of expansion, indeed.