ABSTRACTION THROUGH EDITING IN EXPERIMENTAL CINEMA: VISIONS IN MEDITATION SHORT MOVIE TETRALOGY
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Date
2021-07-01
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Uluslararası Tarih Okulu Dergisi
Abstract
Cinema is one of the mediums that artists can reflect their perspectives, intuitions,
feelings, and emotions, and it is highly prominent from the time of its conception. Since
from its conception, cinema, has renovated itself through auteur directors and their styles
and movements. And one of cinema’s greatest building block have always been editing
which gave its finalized form. The artist can reflect his/her aesthetic language and can
direct his/her narrative through the usage of editing. This reflection and direction make
the editing one of the more fundamental dynamics of the art of filmmaking. Especially
Russian Avant-garde filmmakers developed various editing techniques to make the
narrative of the movie to reflect subjective and social realities in a way that it is closer to
the “truth” while also placing it in the center of the cinematic narrative. In time, editing
become free from its shackles and opened itself to experimental cinema. The editing
techniques that were invented to relay the truth better became one of the tools that let
artists detach themselves from reality to better articulate their points. This research aims
to investigate the role of editing that made detachment of the artist in their own cinematic
narrative from their realities. This research will examine Stan Barkhage’s Visions in
Meditation (1989-1990) short movie tetralogy through the exemplifications of
Eisenstein’s avant-garde editing styles that underlies editing in cinema and Vertov’s avant-garde brotherhood while utilizing literature reviews and content analyses
methodologies. From the findings that are gathered within the research, how a cinematic
narrative become abstracted by editing and how editing creates an aesthetic language will
be discussed.
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Keywords
Stan Brakhage, Visions in Meditation, Avant-Garde, Experimental Cinema, Editing