By Nicholas Rombes
In an period of swift transformation from analog to electronic, how do we write approximately cinema in ways in which are as clean, staggering, and not easy because the top motion pictures are? In 10/40/70 Nicholas Rombes proposes one daring risk: pause a movie on the 10, forty, and 70-minute mark and write in regards to the frames to hand, it doesn't matter what they're. this technique of constraint—by disposing of selection and foreclosing on authorial intention—allows the movie itself to dictate the phrases of its research free of the tyranny of predetermined interpretation. encouraged through Roland Barthes’s inspiration of the “third meaning” and its concentrate on the movie body as a picture that's neither a photo nor a relocating photo, Rombes assumes the position of photo detective, looking out the frames for clues not just concerning the motion pictures themselves—drawn from a variety of genres and time periods—but the very stipulations in their life within the electronic age.
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10/40/70: Constraint as Liberation in the Era of Digital Film Theory by Nicholas Rombes