[Little Stabs at Happiness (Ken Jacobs, 1963)… ]

Ken Jacobs (1999): … once you see a film it collects in your mind into a single image also. It’s all there at once, which is what a painting is. It’s all there at once. You can look at a painting and begin going off and seeing it in many different ways, experiencing it in many different ways. And so it does reach out into time, an unfixed time. But in a similar way for me, a film that you’ve seen and really taken into mind does also become an image, a single shape and form. And separates from clock time. I mean, they both seize the mind, or they can seize the mind, and they shape the mind and they become the mind. Cinema is a form of thinking. Painting is a form of thinking. | http://globetrotter.berkeley.edu/people/Jacobs/jacobs-con2.html

Little Stabs at Happiness | Ken Jacobs (1958-60, 16mm, color, 18 min.)

In den frühen 1970er Jahren prägte [Ken Jacobs (* 25. Mai 1933 in Williamsburg, Brooklyn, New York City, USA)] den Begriff paracinema für Filmerfahrungen, die sich außerhalb der Standard-Kino-Technology bewegen … | https://de.wikipedia.org/wiki/Ken_Jacobs / https://en.wikipedia.org/wiki/Ken_Jacobs & http://hcl.harvard.edu/hfa/films/2009janfeb/jacobs.html & https://en.wikipedia.org/wiki/Paracinema

lemon / 11 April 2013 / Cinema.Exposure
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