Rock artist Frank Zappa hosts a concert in New York City. This movie contains tons of on-stage footage, off-stage footage, and animation.
It takes a long time for image conventions to mature, very much longer than generations of technologies and people, I fear. That surely is true for conventions that scape reality, and surf dreams in some deliberate manner.
I think there is a thread, incubated in massive and broad doses of thuja, and only sculpted decodes later at great cost by Joyce. Its the first structure of image worlds where parallel realities and times are woven in a sort of dark time. Its NOT stream of consciousness, because it has little to do with conscious mechanics. Its other-conscious folding, and still the most elaborate and broad.
I'm interested because we won't have a real cinematic vocabulary until we have something this magnificent, or monstrous, depending on how risky your life is.
Whoever really attempts this has to understand Zappa. He's a sort of Joyce of rock Music, who understood rock as sound folding. He made a couple movies. While these aren't clever or important, its interesting to be exposed to what he thought mapped into film. His earlier movie was chaotic and accidental where his music never was. His music is strictly composed, very deliberate.
This second film is much more interesting. Its part concert film after the manner of Pennebaker. We get to listen to intelligent music played for dummies, and listen to their reaction. They think its the same as acid music and demented. The audience sections are straight Pennebaker.
But there are other sections as well, involving some very interesting claymation. To understand where this comes from, you have to see the exploitive and uncomfortable "Monster Road" which features the disturbed Bruce Bickford, the animation artist featured in about a tenth of this film.
Now, Zappa is never beyond the cheap shot, and most know him for this because his music is too complex for most. And he deliberately obfuscates the complexity. At about the 65 minute mark in the original cut, is the best sequence. Bickford merges faces of all types, sexual encounters (also of all types) and journeys interrupted. The transformations have a very deliberate grammar, not designed but following the urge of the bent mind managing the hands.
Unfortunately, he doesn't know much about camera stuff, so what we have are images arranged for a fixed frame and lighting. You will have to slow things down to get it, and oddly, you are much better off without Zappa's accompaniment. What he chooses to put with these images is unlike his dense music and more a collection of honks and squeeks. So you'll have to put the space you get from Baby Snakes 9the song) with these images. This is utter mastery of one corner of image superposition born of that French romance with absinthe.
I have no idea if this is the end of the line.
Torrent: http://thepiratebay.org/torrent/3247679
It takes a long time for image conventions to mature, very much longer than generations of technologies and people, I fear. That surely is true for conventions that scape reality, and surf dreams in some deliberate manner.
I think there is a thread, incubated in massive and broad doses of thuja, and only sculpted decodes later at great cost by Joyce. Its the first structure of image worlds where parallel realities and times are woven in a sort of dark time. Its NOT stream of consciousness, because it has little to do with conscious mechanics. Its other-conscious folding, and still the most elaborate and broad.
I'm interested because we won't have a real cinematic vocabulary until we have something this magnificent, or monstrous, depending on how risky your life is.
Whoever really attempts this has to understand Zappa. He's a sort of Joyce of rock Music, who understood rock as sound folding. He made a couple movies. While these aren't clever or important, its interesting to be exposed to what he thought mapped into film. His earlier movie was chaotic and accidental where his music never was. His music is strictly composed, very deliberate.
This second film is much more interesting. Its part concert film after the manner of Pennebaker. We get to listen to intelligent music played for dummies, and listen to their reaction. They think its the same as acid music and demented. The audience sections are straight Pennebaker.
But there are other sections as well, involving some very interesting claymation. To understand where this comes from, you have to see the exploitive and uncomfortable "Monster Road" which features the disturbed Bruce Bickford, the animation artist featured in about a tenth of this film.
Now, Zappa is never beyond the cheap shot, and most know him for this because his music is too complex for most. And he deliberately obfuscates the complexity. At about the 65 minute mark in the original cut, is the best sequence. Bickford merges faces of all types, sexual encounters (also of all types) and journeys interrupted. The transformations have a very deliberate grammar, not designed but following the urge of the bent mind managing the hands.
Unfortunately, he doesn't know much about camera stuff, so what we have are images arranged for a fixed frame and lighting. You will have to slow things down to get it, and oddly, you are much better off without Zappa's accompaniment. What he chooses to put with these images is unlike his dense music and more a collection of honks and squeeks. So you'll have to put the space you get from Baby Snakes 9the song) with these images. This is utter mastery of one corner of image superposition born of that French romance with absinthe.
I have no idea if this is the end of the line.
Torrent: http://thepiratebay.org/torrent/3247679
