By George Kouvaros

Until now, celebrated photographer Robert Frank’s bold and unconventional paintings as a filmmaker has now not been offered the serious discover it merits. during this well timed quantity, George Kouvaros surveys Frank’s motion pictures and video clips and areas them within the greater context of experimentation in American paintings and literature on account that international conflict II.

Born in 1924, Frank emigrated from Switzerland to the USA in 1947 and speedy made his mark as a photojournalist. A 1955 Guggenheim starting place fellowship allowed him to shuttle around the nation, photographing points of yankee lifestyles that had formerly bought little awareness. The ensuing booklet, The Americans, with an advent by means of Jack Kerouac, is mostly thought of a landmark within the background of postwar images. through the related interval, Frank befriended different artists and writers, between them Allen Ginsberg, Peter Orlovsky, and Gregory Corso, all of whom are featured in his first movie, Pull My Daisy, that's narrated by way of Kerouac. This movie set the phrases for a brand new period of experimental filmmaking.

By interpreting Frank’s motion pictures and video clips, together with Pull My Daisy, Me and My Brother, and Cocksucker Blues, within the framework of his extra widely known photographic achievements, Kouvaros develops a version of cross-media background within which images, movie, and video are complicit within the look for clean kinds of visible expression. Awakening the Eye is an insightful, compelling, and, every now and then, relocating account of Frank’s decision to forge a private connection among the conditions of his existence and the media during which he works.

Show description

Read or Download Awakening the Eye: Robert Frank’s American Cinema PDF

Best other media books

The Conservation of the Orpheus Mosaic at Paphos, Cyprus

This publication chronicles the advance and implementation of the Pilot venture on Mosaics Conservation, which used to be demonstrated in 1988 via the Getty Conservation Institute and the Cyprus division of Antiquities to be able to perform conservation paintings on a notable flooring mosaic at Paphos. old and iconographic historical past at the Orpheus mosaic, in addition to thorough documentation of the tactics utilized in its evaluate, detachment, reinstallation, and cleansing are profiled.

Paperclay for Ceramic Sculptors: A Studio Companion

Paperclay for Ceramic Sculptors is a guide with questions and solutions on ceramic paperclay for newbies to expert artists. The publication contains «how-to» and knowledge for modeling, sculpture, bas reduction, work of art, hand-building, pottery wheel, blending, recycling, firing, nonfiring, casting, and set up.

Forbidden Asia

  because the Turkish tub (1863) via the French painter Ingres, the a long way jap lady has to many been a logo of pleasures out of achieve or forbidden. Seafaring explorers, army adventurers and easy guests from Europe over the centuries have all been enthralled by way of the unique nature of the oriental girl, her foreignness accentuated by way of the mild pallor of her epidermis.

Exotica in the prehistoric Mediterranean

This e-book examines how unique fabrics have been exchanged and used around the Mediterranean from the Neolithic period to the Iron Age, targeting the Bronze Age. quite a few fabrics and interpretative ways are awarded via a number of case stories. those emphasise how the price of unique fabrics relied on the context within which they have been ate up.

Additional info for Awakening the Eye: Robert Frank’s American Cinema

Sample text

47 In more recent years, Astruc’s pronouncements have played a central role in linking the use of video by filmmakers such as Jean-­Luc Godard, Chris Marker, Agnès Varda, and Frank himself to the history and aesthetic agendas of the essay film. ”49 This inward turn lends films such as Lost Lost Lost a reflexive quality. “I’m trying to get to why I’m looking at what I’m filming,” Mekas explains in a lecture on his films, “why I’m filming it, and how I’m filming.  . ”50 Mekas’s comments crystallize two overlapping elements that are central to Frank’s career: first, an acute investment in the image as a highly subjective response to the challenges of everyday life and, second, a deliberate undermining of the image’s tendency to consolidate experience.

Spontaneity describes how this shift in the purpose of art manifests itself in the artist’s approach.  . ”12 The type of movement valorized in Olson’s essay is different from the incessant movement of goods and services central to the corporate liberal view of American life, in other words, the movement of efficient mass production generating more and more goods that, in turn, generate greater demand.  . ”13 The attempt by Rosenberg, Olson, and others to charge the moment of creative production allows us to identify another principle central to postwar discussions about the nature and value of art.

Positioned above eye level, the camera surveys an ornate lampshade and a two-­seater sofa, above which hangs a small upper-­body portrait of a man. Continuing its pan around the room, the camera passes a large painting in which a man holding a brush 44 ◆ “TIME AND HOW TO NOTE IT DOWN” looks down at an easel. When the panning movement arrives at a section of blank white wall, a cross-­fade shifts our perspective to a shot from ceiling height of a round table with four chairs. The presence of the lampshade and the two-­seater sofa confirms that we are still in the same room as the previous shot, but viewing it from a different angle.

Download PDF sample

Rated 4.77 of 5 – based on 47 votes