(link for a playful interlude: cut-up machines)
|Recent private discovery led me finally to look up .. Those crazy “cut-ups” Burroughs, Gysin, and Balch restored to their rightful place in avant-garde film history. In this interesting article I found at www.brightlightfilms.com the author explores the collaborative film work of William Burroughs and Anthony Balch, which brings to cinema an extension of Burroughs’ literary cut-up technique. He, Rob Bridgett, looks at it especially in terms of the various critical and experimental approaches regarding “structural” theory, …|
But in its attempt of “deranging the senses” the film when shown to audiences unfamiliar with provocative film practices tended to ‘misunderstanding’s as ..
Nevertheless in this context, Burroughs and Balch can be seen as ..
… and follow through to the interesting comparison and conclusion:
Burroughs’ and Balch’s
… “It is the interval between two frames which is the important element of the articulation of meaning.” … (Vertov, Dziga “We Manifesto”)
The Cut-Ups’ concern also clearly remains in this tradition, bringing disparate elements into collision spatially and temporally with the effect of focusing attention onto the importance of the new relationships. …
.. The Cut Ups can therefore be divided into two different approaches. The first approach is the concern with rigorously applying a monomorphic cutting structure to film footage and creating new arbitrary relationships between units, linking hitherto unrelated linear shots into a new spatio-temporal whole. The strongly rhythmic visual cuts play a particularly interesting role, especially when considered as anti-rhythmic elements in relationship to the soundtrack’s constantly shifting tempo. …