Cinema is movement. Movement is change. Change is politics — politics regulates change.
Movement in the frame is thus political.
The addition of speed amplifies the political impetus of cinema. Movement is cinema.
* * *
[It’s okay, I haven’t lost it. These are perfunctory scribblings for upcoming research, that I thought were strangely poetic. Rough thoughts on the disappointingly not-that-disappointing Need for Speed here.]
‘Framing is a position of thinking.’
– Daniel Frampton, Filmosophy, p. 125.
As previously alluded to, I’m in the very strange process of having to think through my own comprehension of the cinematic medium. In a way, I’m taking baby steps towards my own theory of film. I’ll be taking these initial explorations to a couple of conferences in New Zealand in a couple of months, and I’m also running a studio around the same topic in the second half of the year.
The basis of this new research is that throughout film history, film theory, the notion of the ‘frame’ is never questioned. So much of this is due to the fact that up until very recently, the frame itself was a tangible thing: there’s little need to theorise or philosophise about something you can cut up and hold in your hand. While my research goes out on multiple tangents, the ones we’ll be looking at in the studio have to do with our framing of the world, and how we can link this notion of framing to our conception of self, and our own thought process. It sounds pretentious, I’m well aware, but I’m hoping that through exploring what a cinematic frame is in 2015, we can move towards a comprehension of digital cinema that is either entirely new or, at best, a – ahem – reframing of older theories of film form and philosophy.
Daniel Binns 