This blog consists of images and arguments that the spectre of Deleuze has haunted us into offering. And it is part of our Film Language course.
Gilles Deleuze Frame & Set || Sajujya Ray, Nabarun Phukan
Get link
Facebook
X
Pinterest
Email
Other Apps
-
The frame therefore forms a set which has a great number of parts, that is of elements, which themselves form sub-sets.
In context to this, we present a block frame video. The main element here is a doorway. Breaking our frame down, we get a partial
wall, the doorway of a building and a closed door. This video is dominated by a lot of motion, in the form of people walking across the frame.
Each of these individuals are part of a larger set, and act as sub-sets. Each of
these sub-sets have their own stories and their own course of action, which may
seem independent of the set but play their own roles in it. The visual through
the door also plays its part as a subset in itself, with further subsets incorporated within it.
Hence we see the video as a supportive structure to the
quote.
An Understanding of Deleuze on Frame and Shot In this project Pritha and I have tried to put forth the philosophy of Gilles Deleuze with respect to concepts of a frame within a frame, the depth of focus, the geometry of shapes and lines, and the concept of rarefaction in a frame. As Delueze says, a frame is a relatively closed system where sets, characters and props are included. The frame, which themselves form sub-sets, which can be broken down in an image. The Frame is geometric or physical in another way. In the first case, the frame is inseparable from rigid geometric distinction. In this photo we can see vertical lines of trees on both the sides and horizontal lines of the speed breaker. Deleuze's idea of geometry and rarefaction is again portrayed in the image above, showing the electric tubes arranged in horizontal lines. The rectangle shaped boxes add to the geometry as well. The image is rarefied too as the "whole accent is p...
Cloud Gazing The video draws context from the relationship between cinematic narration and cinematic time to show their contextual relation with cinematic space. The video begins with the frame that shows a building which is silhouetted against the sky. It is a time-lapse in whoch the actions of the individual can be seen at various subsets of the original frame. The frame is divided into three broad horizontal lines along which the action takes place. The first is the sky, second the terrace of the building and the third is the wall of the building. The subsets that make up the frame tend towards a centrifugal visual, but the over-all frame is centripetal. There is no movement in the video, all of it being one single long shot. The frame here acts as a closed system initially the geometry of it is well defined but the initial and final movement shows that as the child leaves, the "out of field is not definable nor understood, it is a part of a larger system".
Place: Sukanta Sethu (Jadabpur) The frame is composed of elements which are the data (donnes). These data are sometimes numerous, sometimes limited number. The frame is therefore inseparable from two tendencies i.e. it is either towards Saturation or it is towards Rarefaction. In the following video, the frame tends towards saturation. The railway track, the houses of the human habitats and the narrow lane, all constructs a geometric structure as a spatial composition of parallels and diagonals. However, the dynamic conception of frame produces an imprecise set which are now divided into zones or bands. The frame is now no longer the object of geometric division but of physical gradation. Here, it is by the degree of mixing that the part becomes confused. The set as a whole cannot be divided into parts and neither it is indivisible. But is 'Dividual'. Thus, The Cinematographic Image is Always Dividual as Deleuze puts it. According to Delueze there is always out of f...
Comments
Post a Comment