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    Four Self-Interviews About Cinema: the short films of director Norman Reedus
    Four Self-Interviews About Cinema: the short films of director Norman Reedus
    Four Self-Interviews About Cinema: the short films of director Norman Reedus
    Ebook44 pages44 minutes

    Four Self-Interviews About Cinema: the short films of director Norman Reedus

    By KUBOA

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    The self interviews in this collection originally appeared in the Montage: Cultural Paradigm (Sri Lanka) from September 5th-25th, 2011. Focusing on three films directed by Norman Reedus in 2006, each self-interview is an exploration of cinema, philosophy, and the conscious and unconscious mind in creation and reaction to art.

    LanguageEnglish
    PublisherKUBOA
    Release dateSep 27, 2011
    ISBN9781465728548
    Four Self-Interviews About Cinema: the short films of director Norman Reedus

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      Book preview

      Four Self-Interviews About Cinema - KUBOA

      Four Self-Interviews About Cinema:

      the short films of director Norman Reedus

      Pablo D’Stair

      Copyright © 2011 by Pablo D’Stair

      Pocketful of Scoundrel/SmashWords Edition

      www.pocketofscoundrel.wordpress.com

      www.kuboapress.wordpress.com

      Though not essential to the reading of this series, the three films by Norman Reedus being discussed are available through Big Bald Head Productions

      www.bigbaldhead.com

      Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure. Besides, you can't teach old fleas new dogs.

      Federico Fellini

      INTRODUCTION

      Originally appeared in the Montage: Cultural Paradigm (Sri Lanka)

      September 4th, 2011

      Concrete: Very quickly, to have it out of the way, I think we should agree with each other, as Godard asked the others at the Cahiers du Cinema roundtable concerning Resnais’ Hiroshima, Mon Amour to do, that we will be discussing Cinema as Literature.

      Abstract: Certainly. And thankfully I think this is less of a suggestive stretch these days—not that we’re very likely to proceed using established terms-of-art or anything, no scholarly patter, but I think the agreement is less a radical thing, these days, that Cinema—not movies, but Cinema—is literature, without having to be broken into its component parts, that the result of cinema on an individual, so to speak, can be perfectly equated to the result of any form of written-word literature.

      C: And just to put the pin in it—so that the idea isn’t understood too out in the ether—I’ll just say that most specifically we won’t be concerned with review or even really critique of any kind. Art is to be responded to, we will respond to it, and this response is best to be kept in flux, not strangled into some pronouncement or another.

      A: Which is precisely why (I suppose we should move on to explaining) the form of self-interview has been adopted. Cinema—and quite in particular the short cinema of Norman Reedus under discussion here—is something not meant to elicit a single reaction-per-viewer, but something that should unhinge a viewer—maybe rather say an observer—into a contemplation, and the very flow of that contemplation, the paths and side paths and side-side paths it wanders is the reaction. It would be a mistake to take the form even of analytical essay when discussing these films, in that even if multiple perspectives are brought in, it is quite difficult to avoid in that format, just through structure and incidental, the notion of there being primary and subordinate reactions/observations. With any individual, there is no primary and subordinate in the multiple responses to a work of art and it is certainly folly to allow any suggestion otherwise.

      C: There’s no other way to approach it with Reedus’ work, certainly, and with short film in general, even more so, I would say, than long form cinema.

      A: Mmn. Well. We’ll touch on that a bit here and there, but we’d better step carefully not to set up short film as subordinate or alternative or footnote to long-form, I’d think.

      C: And you’re right, I stepped into the trap I was warning against.

      A: So maybe despite the titular presence of the term short films in this series we’ll just refer to the works as films? Do you agree?

      C: I do. And with that out of the way, the matter of self-introduction should take place and I’ll go first. I am the Concrete Reaction or, to put it another way, I am the reaction based on and held in by the concrete aspects of each of the three films we will be discussing. My compatriot, Abstract, has

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