Writing ImagesMain MenuBook SplashWelcomeCinematic HumanitiesFour Modes of Critical Visual AnalysisVisual Remix and the Audio CommentaryGraphic WritingMateriality and the Reflective ViewerHolly Willisec84a525fa149f684b0800e777adb0de503d2ae9
The Hand-Made
12015-11-14T23:28:08-08:00Holly Willisec84a525fa149f684b0800e777adb0de503d2ae970964plain2015-12-08T09:27:55-08:00Holly Willisec84a525fa149f684b0800e777adb0de503d2ae9The third form of critical visual analysis explores the ways in which artists actively manipulate cinematic materials onscreen. This constitutes a particular and relatively rare filmmaking trope associated perhaps most specifically with structural filmmaking in which the specific materiality of film is made the subject of a work. However, several filmmakers employ this trope not so much in order to investigate the material conditions of film or video, but to layer differing temporal and semiotic registers. The example for this mode is Harun Farocki’s Images of the World and the Inscription of War (Bilder der Welt und Inschrift des Krieges) (1988).
12015-12-08T09:26:04-08:00Images of the World and the Inscription of War1An excerpt from Harun Farocki's Images of the World and the Inscription of War illustrating the film's handmade aestheticplain2015-12-08T09:26:04-08:00Critical Commons1988VideoImages of the World and the Inscription of WarHarun Farocki2015-12-08T17:24:33Z