Amongst the earliest films of the Lumière brothers, we see that iconic scene in which a train pulls up to the station, a real event no doubt, but there is a bias there in the timing and the editing that presents the scene as one singular event. A pretty sentiment, but ever since the first images were commited to film, artifice has always had a hold on the camera. This statement recalls that famous one of Bruno Forestier in Godard’s Le Petit Soldat (his second feature film and first to star his muse and future wife, Anna Karina), “ La photographie, c’est la vérité, et le cinéma, c’est vingt-quatre fois la vérité par seconde” – “Photography is truth, and cinema is truth 24 times per second”. His camera, he says, shows things the way that they are. At the very beginning of Lou Ye’s Suzhou River ( Sūzhōu Hé) the unnamed and unseen narrator and protagonist whom works as a freelance cameraman tells the viewer that he is fine filming anything just so long as the client doesn’t complain.
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