The interactions with the shutter perform a jump over structural cinema, charging the leap from the flooring of life. The essay on perception is pointed against the Self; it’s possible only through an eye subdued to the da Vinci’s inquiries. Not a diary filled of inchoate technical familiarity, but autoscopy. Optics becomes a revelatory cage: we acknowledge the becoming-author in the accretion of his obsession.
Despite absolutely despising this film when I first saw it due to it's overwhelming stench of pretentious narcissism, (not to mention privileged story behind the production) I will say that my growing interest in literal "experimental" cinema has caused From the Notebook of... to grown on me...
Reviewed yesterday and the absolute confirmation that this is one of the major films of the last century: " (i) emphasized harmony, because we see in cinema, more than the image, we see image's unity and its compass, while simultaneously we hear the unity of sound and its interval" (Robert Beavers)
“Cinema is not illusion of movement, it is movement” is only partly true. Cinema is movement and illusion of movement. This is its zoetrope effect, one in which the real movement has to be occulted, in order for the static image to start moving. When we say “illusion of movement”, the referent is a seamless movement of an object on screen, the stitchless continuity of frames,