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A cinema of presence and proximity: Gunvor Nelson’s collage films and the aesthetics of the signaletic material before the electronic signal
Karlstad University, Sweden.
2012 (English)In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, Vol. 4, no 1, 1-9 p.Article in journal (Refereed) Published
Abstract [en]

This essay argues for the importance of an intersubjective and impure film theory in which the signal and the signaletic is considered as figures for approaching film. This in order to make the argument that the signaletic mode indeed enables a novel perspective on moving image history. The aesthetics of the signaletic has thus a history preceding that of electronic media, in particular when it comes to animation and experimental film. When constructing such an archaeology, however, dichotomies into sign and signal should be avoided; otherwise, the complexity of many of the films is reduced. In order to illuminate the latter point, four films by Gunvor Nelson is analyzed (both analog and digital), showing not only how both sign and signal interact but also how the aesthetics of the signal and the signaletic material is not dependant on the electronic as such.

Place, publisher, year, edition, pages
2012. Vol. 4, no 1, 1-9 p.
Keyword [en]
film theory, experimental film, expanded cinema, Gunvor Nelson, Bruce McClure, Guy Sherwin
National Category
Studies on Film
Research subject
Film Studies
Identifiers
URN: urn:nbn:se:su:diva-101841DOI: 10.3402/jac.v4i0.18150OAI: oai:DiVA.org:su-101841DiVA: diva2:706271
Available from: 2012-06-16 Created: 2014-03-17 Last updated: 2017-12-05Bibliographically approved

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CiteExportLink to record
Permanent link

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Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
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Output format
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