Page 201, "For Kracauer ... the usual order is trivialized and the apparently trivial is pushed centre-stage"
Page 202 (also Kracauer) "The function of cartoons is to mock photographic reality. .... [Dumbo] is the rationalization of the irrational".
Page 204, "Kracauer notes how colour ... in fact intensifies the bad artifice of film".
Page 206, "Familiar everyday images need to be exploded so that images can be montages from their fragments. It is in the fragments that meaning resides."
"Montage .. is the opposite of an ... imitation of nature".
Page 215, "Like Chaplin, Disney avoids bringing fairy tales into alignment with the conventional everyday, electing instead to reveal everyday stories as fairy-tales".
Page 223, Vertov manifesto.
page 224, "Cinemas that show full length films are the most conservative" (Vertov)
Page 227, "The Post Office" film by Mikhail Tsekharsovsky, 1929
Page 230, Eisenstein vs Adorno regarding Disney and nostalgia.
Page 234, "Freedom from logic's fetters and political subjugation can be secured only after having united with the fantastic the alogical, the sensuous order".
Page 242, Berger on pets.
Page 246, Eisenstein lectured the film students on how to make colour break free from the task of representation, in order to express meaning, independent emotional values in connection with precise ideas"
Page 250, The trouble with fantasia and Bambi ... begins when they attempt to be mature, serious, worthy.".
Page 252, Edwin Land (Polaroid) on colour and Goethe colour theory (page 252-257, perhaps have Geremy Logue test this?).
Page 257, "Goethe's science called for a critique of the senses. It was an aesthetic science".
Page 267-8, "Green against red is a fundamental colour pairing ... red is the real ... green the fantastic ... together they evoke desire."
Page 268, "Green and red-polarites of colour, are the colours of myth, memory and desire revamped in modern guise."
Page 271, Goethe:"We must think of science as art".
Page 272, mimisis; I yawn, you yawn.
Page 275-6, rubbing eyes, drug visions, and synaesthesia.
Page 282, Ruttmann; "it seems that for [Ruttmann] nature is unaesthetic, its colours random. The colours in film need to be ordered. They need Gestaultung.
Page 283-4, various colour inventions.
Page 285, Technicolor code/motto or naturalism and keeping colour subordinate to narrative.
Page 202 (also Kracauer) "The function of cartoons is to mock photographic reality. .... [Dumbo] is the rationalization of the irrational".
Page 204, "Kracauer notes how colour ... in fact intensifies the bad artifice of film".
Page 206, "Familiar everyday images need to be exploded so that images can be montages from their fragments. It is in the fragments that meaning resides."
"Montage .. is the opposite of an ... imitation of nature".
Page 215, "Like Chaplin, Disney avoids bringing fairy tales into alignment with the conventional everyday, electing instead to reveal everyday stories as fairy-tales".
Page 223, Vertov manifesto.
page 224, "Cinemas that show full length films are the most conservative" (Vertov)
Page 227, "The Post Office" film by Mikhail Tsekharsovsky, 1929
Page 230, Eisenstein vs Adorno regarding Disney and nostalgia.
Page 234, "Freedom from logic's fetters and political subjugation can be secured only after having united with the fantastic the alogical, the sensuous order".
Page 242, Berger on pets.
Page 246, Eisenstein lectured the film students on how to make colour break free from the task of representation, in order to express meaning, independent emotional values in connection with precise ideas"
Page 250, The trouble with fantasia and Bambi ... begins when they attempt to be mature, serious, worthy.".
Page 252, Edwin Land (Polaroid) on colour and Goethe colour theory (page 252-257, perhaps have Geremy Logue test this?).
Page 257, "Goethe's science called for a critique of the senses. It was an aesthetic science".
Page 267-8, "Green against red is a fundamental colour pairing ... red is the real ... green the fantastic ... together they evoke desire."
Page 268, "Green and red-polarites of colour, are the colours of myth, memory and desire revamped in modern guise."
Page 271, Goethe:"We must think of science as art".
Page 272, mimisis; I yawn, you yawn.
Page 275-6, rubbing eyes, drug visions, and synaesthesia.
Page 282, Ruttmann; "it seems that for [Ruttmann] nature is unaesthetic, its colours random. The colours in film need to be ordered. They need Gestaultung.
Page 283-4, various colour inventions.
Page 285, Technicolor code/motto or naturalism and keeping colour subordinate to narrative.
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