By Nicholas Rombes
In an period of swift transformation from analog to electronic, how do we write approximately cinema in ways in which are as clean, excellent, and difficult because the top motion pictures are? In 10/40/70 Nicholas Rombes proposes one daring danger: pause a movie on the 10, forty, and 70-minute mark and write concerning the frames handy, it doesn't matter what they're. this technique of constraint—by disposing of selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged through Roland Barthes’s idea of the “third meaning” and its specialize in the movie body as a picture that's neither a photo nor a relocating photo, Rombes assumes the position of picture detective, looking out the frames for clues not just in regards to the motion pictures themselves—drawn from quite a lot of genres and time periods—but the very stipulations in their lifestyles within the electronic age.
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Additional info for 10/40/70: Constraint as Liberation in the Era of Digital Film Theory
Two hundred technicians were employed: operators, photographers, architects, decorators, painters, assistants, assistant directors (stage managers), electricians, explosives experts, gunsmiths, makeup artists, historical advisers, etc. Forty stars act in the film. Certain scenes contain as many as six thousand extras. One hundred and fifty sets were constructed either in the studio or outdoors and the scenes were shot on location in Brienne, Toulon, at Malmaison, on Corsica, in Italy, at Saint-Cloud and in Paris.
Skverine wants Lantier to kill Roubaud, with whom life has become impossible since the murder. Lantier cannot make up his mind to kill Roubaud, but while in a rage he strangles Skverine and the next day jumps to his death from the locomotive on which he was chief engineer. In Emile Zola's novel, Jacques Lantier was in the countryside, watching a train pass, and saw the crime of Roubaud and his wife in a flash. It is Renoir who places Lantier in the corridor of the train and has him observe the accomplice in the crime.
Watching Michel Simon, moviegoers have always felt that they were not just watching an actor play a role, but watching the actor himself. His best roles were double roles: Boudu is both a vagrant and a child discovering life; Pkre Jules in Vigo's L 'Atalante is a frustrated barge captain and a refined collector; Irwin Molyneux, the businessman of Drole de Drame, secretly writes bloody novels; and, to come back to Renoir, Maurice Legrand in La Chienne is an insignifi- ~ 38 THE BIG SECRET cant and docile cashier but also, without knowing it, a great painter.