Dec 26, 2008 | Film, Volume 14
Abstract: Brian De Palma’s Carrie obsessively thematizes splitting in myriad forms, both formally and thematically. On a meta-textual level, the film’s thematic of splitting represents the director’s highly productive agon with the cinema of Alfred Hitchcock. In this...
Dec 26, 2008 | Film, Other, Volume 14
Abstract: In this essay I position the Deleuzian circuit of the actual and the virtual in relation to a film installation, Sutapa Biswas’ Birdsong (2004), in order to open up a reading of the film in terms of affect. Biswas’ film, in which a boy confronts a horse in a...
Dec 26, 2008 | Film, Other, Volume 14
Abstract: This article examines the intriguing treatment of expanded cinema in two seminal texts in film theory: Stephen Heath’s Questions of Cinema and Gilles Deleuze’s Cinema 2: The Time-Image. I argue that expanded forms of cinema such as the split...
Dec 25, 2008 | Film, Television, Volume 14
Abstract: This paper argues that the democratisation of digital cinema has inaugurated a prevalence of the long take and the split screen and a resultant excess of images. Mike Figgis’ use of both the split screen and long take in his Timecode exemplifies the intimate...
Dec 24, 2008 | Digital Media/Internet, Film, Older Media, Television, Volume 14
Abstract: This article sketches a genealogy and typology of the split screen in mainstream film, identifying three distinct phases in the integration of this device since the 1950s, each relating to broader cultural shifts ushered in by media advances and transitions:...
Dec 24, 2008 | Animation, Film, Volume 14
Abstract: In 1915 the Fleischer brothers, Max and Dave, developed a device known as the “rotoscope” which allowed the artist to trace over the original film footage frame by frame to make a more life-like rendition for animation. Rotoscoping’s digital...
