[video credits to Mike Celona's MySpace Video Profile]
[you can find him at his website, or his youtube channel]
Toasted
Mike Celona made my weekend complete. It could have been that my weekend would composed only of Hitchcock, Polanski and a little dash of shorts from the Pixar studio but Celona broke the ice. The truth is i haven't found any clarity or peace with my weekend line-up of films, no offense to both directors. As usual, a rush of curiosity brought me to Senses of Cinema again to check their link list.
I had shivers from caffeine addiction and it must have brought the defective concentration on carrying out my study goal for tonight: to make notes on my Engineering Science subject. I just dropped over Senses of Cinema to break the ice. But then i end up with the film site FLICKER.
In search for something eventual, perhaps (in terms of my current interest on long unbroken shots) something 'poetic', i retraced my deep affection back to the aesthetics of experimental cinema.
Mike Celona took me there.
Toasted is considerably a figurative filmic exposition quite reminiscent of Krzysztof Kieslowki style: a deep focus on metaphoric elements, as in this case, a champagne glass.
In a particular scene in THREE COLORS: BLUE (1993)[shown above], Kieslowski effectively use a superimposition of two images displayed on the frame. The foreground shows a less focused image of blue beads superimposed on the middle ground where our heroine, Julie achieves a meditative look. The blue-beads inherently reflects Julie's inner subconscious, a style of Kieslowski that i admire.
Toasted significantly imposed this style but established a wider, more lyrical superimposition. The superimposition of the champagne glass to the moving background, possibly Parisian life, suggest that there is a world beyond the screen. it unfolds in a dramatic, subtle and contemplative way by using a digital rotation very rarely attempted in video but a established technique on feature films.
On my sudden concentration on contemplative cinema, i might consider this as a higher subordinate: an example of contemporary contemplative video art.
----
I had shivers from caffeine addiction and it must have brought the defective concentration on carrying out my study goal for tonight: to make notes on my Engineering Science subject. I just dropped over Senses of Cinema to break the ice. But then i end up with the film site FLICKER.
In search for something eventual, perhaps (in terms of my current interest on long unbroken shots) something 'poetic', i retraced my deep affection back to the aesthetics of experimental cinema.
Mike Celona took me there.
Toasted is considerably a figurative filmic exposition quite reminiscent of Krzysztof Kieslowki style: a deep focus on metaphoric elements, as in this case, a champagne glass.
In a particular scene in THREE COLORS: BLUE (1993)[shown above], Kieslowski effectively use a superimposition of two images displayed on the frame. The foreground shows a less focused image of blue beads superimposed on the middle ground where our heroine, Julie achieves a meditative look. The blue-beads inherently reflects Julie's inner subconscious, a style of Kieslowski that i admire.
Toasted significantly imposed this style but established a wider, more lyrical superimposition. The superimposition of the champagne glass to the moving background, possibly Parisian life, suggest that there is a world beyond the screen. it unfolds in a dramatic, subtle and contemplative way by using a digital rotation very rarely attempted in video but a established technique on feature films.
On my sudden concentration on contemplative cinema, i might consider this as a higher subordinate: an example of contemporary contemplative video art.
----
