Date: Sun, 9 Apr 1995 00:14:12 +1000
From: mmcmahon-AT-extro.ucc.su.OZ.AU (Melissa McMahon)
Subject: Re: Frame-by-frame animation


malgosia wrote 8/4/95:
>You use the word "capture"; but can FBF animation be said to "capture"
>anything?  Movement here is _created_, not captured -- and it can be
>created in such a way that it doesn't obey any laws of "natural"
>movement.

You're right, 'capture' is not the best term to use here.
The question of the role of 'visual reality' in the cinema books is
interesting - there is for example the challenge to cinema being understood
along the same lines as 'natural perception' in the first chapter. I think
the way the cinema creates its own sort of perception gets brought out
later (I've just started reading the chapter on the 'perception-image'). It
doesn't seem to pose a problem when he is talking about, say, the 'Ballet
mecanique' or German expressionism (but what is the 'visual reality' we are
talking about?), but perhaps animation raises problems of a different sort.

In relation to the kind of 'stagey' films that you mentioned, I am tempted
to suggest that the relation to the out of field is perhaps similar to the
cases he mentions where there is a 'flattening' of the frame or field such
that it bears a more direct relation with the 'absolute' 'outside',
bypassing the more conventional relations that this 'absolute' out-of-field
conditions; and that the 'poses' here perhaps fit into the categories that
are developed in the second book where the body emerges as a 'postural'
body (ie lending itself to 'postures'), rather than an action-body.

- Melissa

ps.an offhand thought: it has been noted that Raul Ruiz is surprisingly
absent from the cinema books (especially when you consider Ruiz'
collaborations with Klossowski) - this remark was put to him when he was in
Australia last year, and he replied that he and Deleuze had had a fight (as
in _fists_) and... that was that (didn't get a chance to find out more). I
thought of this just in relation to the question of Deleuze's attitude to
'visual reality', but I doubt that this anecdote is necessarily
'indicative' or 'formative' of any general approach in the cinema books.
But maybe others disagree, or know more...






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