Mostra in alta risoluzione
LS | Attitude Cinema
William E. Jones | Eyelines, 2011
Copyright © William E. Jones
Courtesy of David Kordansky Gallery, Los Angeles, CA
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Mostra in alta risoluzione
-
Mostra in alta risoluzione
LS | Attitude Cinema
William E. Jones | Eyelines, 2011
Copyright © William E. Jones
Courtesy of David Kordansky Gallery, Los Angeles, CA
-
Mostra in alta risoluzione
LS | Attitude Cinema
William E. Jones | Eyelines, 2011
Copyright © William E. Jones
Courtesy of David Kordansky Gallery, Los Angeles, CA
-
Mostra in alta risoluzione
LS | Attitude Cinema
William E. Jones | Eyelines, 2011
Copyright © William E. Jones
Courtesy of David Kordansky Gallery, Los Angeles, CA
-
LS | Attitude Cinema
William E. Jones | Eyelines, 2011
Biography
William E. Jones grew up in Ohio and now lives in Los Angeles. He has made the films Massillon (1991), Finished (1997), and Is It Really So Strange? (2004), videos including The Fall of Communism as Seen in Gay Pornography (1998), and many other moving image works. He has had retrospectives at Tate Modern, Anthology Film Archives, Austrian Film Museum, and Oberhausen Short Film Festival. Jones’s books include Tearoom (2008), Selections from The Anatomy of Melancholy by Robert Burton (2008), Heliogabalus (2009), Killed: Rejected Images of the Farm Security Administration (2010), and Halsted Plays Himself (2011). Descriptions Eyelines (sequence of digital files, color, silent, 1 hour and 52 minutes, looped, 2011)
Eyelines explodes one of the fundamental editing strategies of narrative filmmaking, the eyeline match. The eyeline match unites a close up of an actor looking in a direction and a shot of what we understand to be the object of that actor’s gaze. Eyelines makes use of five close ups with a strong sense of direction (either a glance or a camera movement) and alternates them in a stroboscopic editing pattern. The footage – from television commercials of the late 1960s and early 1970s – has, like most color film from that era, faded to red. But each shot has faded in a slightly different way, one more orange-red, another so magenta that it is almost purple. The contrasting colors, double images and afterimages produce complex patterns and conflicting glances that change very gradually. Every permutation and combination of shots and juxtapositions is exhausted over the course of almost two hours.
Theme: Linear by Peter Vidani
