## P. Adams Sitney (2002). *Visionary Film: The American Avant-Garde, 1943-2000*. : Oxford University Press. > [!INFO] > Type:: [[book]] > Title:: Visionary Film: The American Avant-Garde, 1943-2000 > Author(s): [[P. Adams Sitney]] > Year:: 2002 > Tags:: > DOI:: > Citekey:: sitney_visionary_2002-1 > ZoteroURI:: [Open in Zotero: Visionary Film: The American Avant-Garde, 1943-2000](zotero://select/items/@sitney_visionary_2002-1) > ReviewedDate:: [[2022-02-17]] ## Citation ```latex [@sitney_visionary_2002] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@sitney_visionary_2002]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation > “Cinema is not movement. This is the first thing…. Cinema is a projection of stills—which means images which do not move—in a very quick rhythm. And you can give the illusion of movement, of course, but this is a very special case, and the film was originally invented for this special case…. > Where is, then, the articulation of cinema? Eisenstein, for example, said it’s the collision of two shots. But it’s very strange that nobody has ever said it’s not between shots but between frames. It’s between frames where cinema speaks. And then, when you have a roll of very weak collisions between frames—this is what I would call a shot, when one frame is very similar to the next frame.” ^[Jonas Mekas, “An Interview with Peter Kubelka,” Film Culture, 44 (Spring 1967), p. 45.] ^de923e > “Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now or you don’t get it at all. To go back and shoot it later, it would mean restaging, be it events or feelings. To get it now, as it happens, demands the total mastery of one’s tools (in this case, Bolex): ==it has to register my state of feeling (and the memories) as I react. Which also means that I had to do all the structuring (editing) right there, during the shooting, in the camera==.” ^[Program notes of the Museum of Modern Art Department of Film (June 23, 1970).]