Writing ImagesMain MenuBook SplashWelcomeCinematic HumanitiesFour Modes of Critical Visual AnalysisVisual Remix and the Audio CommentaryGraphic WritingThe Hand-MadeHolly Willisec84a525fa149f684b0800e777adb0de503d2ae9
Materiality and the Reflective Viewer
12015-11-14T23:24:41-08:00Holly Willisec84a525fa149f684b0800e777adb0de503d2ae970964plain2015-12-08T09:10:40-08:00Holly Willisec84a525fa149f684b0800e777adb0de503d2ae9Book SplashThe fourth form of critical visual analysis centers on explorations of the material forms of moving image production, and the ways in which a project can embody its own argument. Gary Beydler’s deceptively simple six-minute film, Pasadena Freeway Stills (1974), exemplifies a form of this critical making dedicated to investigating the fundamental aspects of film as a medium, as does Peter Tscherkassky’s 10-minute filmOuter Space (1999).
12015-11-15T01:28:28-08:00Peter Tscherkassky's Outer Space (1999)1The end of film is portended when a Hollywood genre film runs amok within the cinematic apparatusplain2015-11-15T01:28:28-08:00Critical Commons1999VideoOuter SpacePeter Tscherkassky2015-08-27T20:47:44Z