マーティン・スコセッシのインスタグラム(martinscorsese_) - 6月12日 03時52分

Repost from @thefilmfoundation_official
By Kent Jones
During a discussion of Welles’ The Other Side of the Wind, Scorsese remarked that the editing of many scenes “comes down to a matter of frames.” You could extend this observation to a rule of thumb. If there’s 1 clear marker that separates a great movie from an ordinary one, it’s the evidence that every image or succession of images comes down to a matter of frames: every particle of every 24th of a second counts & is bound to every other particle. If you want a clear illustration, watch Bruce Conner’s films, 5 of which—Cosmic Ray, Ten Second Film, Report, Mea Culpa and America Is Waiting—were restored by @anthologyfilmarchives with grants from the Avant-Garde Masters program, created by NFPF & TFF. A sizable amount of his work is comprised of found footage pulled from industrial films, commercials & live TV coverage. Many of his films were constructed over great lengths of time & now exist in multiple versions, each one a living force—ceaselessly changing, throbbing with associations & dynamic shifts that create the sense of being everywhere at once, micro & macro, inside & outside of an event that appears to be creating itself before our eyes, echoing our own experience. To say of Conner’s films that every frame matters is to put it very mildly. Mea Culpa & America Is Waiting, which served as rock videos for the first 2 songs on David Byrne & Brian Eno’s 1981 proto-sampling album My Life in the Bush of Ghosts, offer a stark contrast with standard rock videos of the same period: they are pure compressed kinetic energy as opposed to the vague impression of kinetic energy created by a systematic succession of shock cuts and speed changes. Cosmic Ray is also a music film (the cosmic Ray’s last name is Charles) that bursts the screen open and floods right into your system, just like the silent, mind-bending Ten Second Film. Report is Conner’s response to the assassination of JFK, a film trauma that is immediate & reflective at the same time & a shock to the system. It seems that Report is now in an intense dialogue, across the span of 50 years & counting, with Bob Dylan's new American lament, Murder Most Foul.

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