Formalist Motion Pictures
Using psychological studies of motion perception, Betancourt has argued that the motion seen in motion pictures is identical to the motion seen in paintings. He terms this second type painterly motion and argues that both kinds are invented by the subjective viewer: "Unlike motion in the real world that is physically eminent, the motion we see in movies and through the technique of painterly motion is entirely a result of a human perception. The motion we see does not exist outside our perception." Work by painters Francis Bacon and Peter Paul Rubens present the type of motion effect identified by Betancourt as being psychologically the same as real motion of actual objects in the world.
Betancourt's construction of formalism suggests a broader scope for applications of film theory than simply motion pictures since it focuses on both painting and experimental film. This approach was developed in his book, Structuring Time: notes on making movies. He approaches the motion picture as a series of distinct, but related domains of aesthetic manipulation: camera, image, editing, projection, screen, and sound.
Read more about this topic: Michael Betancourt
Famous quotes containing the words motion and/or pictures:
“Two children, all alone and no one by,
Holding their tattered frocks, thro’an airy maze
Of motion lightly threaded with nimble feet
Dance sedately; face to face they gaze,
Their eyes shining, grave with a perfect pleasure.”
—Laurence Binyon (1869–1943)
“Those who are esteemed umpires of taste, are often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold.”
—Ralph Waldo Emerson (1803–1882)