Jump to ContentJump to Main Navigation
Motion(less) PicturesThe Cinema of Stasis$
Users without a subscription are not able to see the full content.

Justin Remes

Print publication date: 2015

Print ISBN-13: 9780231169639

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231169639.001.0001

Show Summary Details
Page of

PRINTED FROM COLUMBIA SCHOLARSHIP ONLINE (www.columbia.universitypressscholarship.com). (c) Copyright University of Minnesota Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CUPSO for personal use.date: 28 June 2022

Stasis in Fluxus

Stasis in Fluxus

Disappearing Music for Face and Protracted Cinema

Chapter:
(p.59) 3 Stasis in Fluxus
Source:
Motion(less) Pictures
Author(s):

Justin Remes

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231169639.003.0003

This chapter examines protracted films—works that use extreme slow motion to create the impression of stasis—focusing on George Maciunas's film version of Mieko Shiomi's “action poem” Disappearing Music for Face (1966). Disappearing Music is best understood as a protracted film, since it finds stasis in flux, taking movement as its starting point and then slowing it down drastically to create a sense of immobility. The technology process used to create Disappearing Music results in an extreme slow motion—a hyperstasis. As such, the film offers a glimpse into microtime, the infinitesimal intervals of duration that form the backdrop of every experience. Thus, the chapter argues that by manufacturing alternate temporalities, protracted films foreground the plasticity and contingency of time itself.

Keywords:   protracted films, slow motion, Disappearing Music, George Maciunas, Meiko Shiomi, hyperstasis, microtime, alternate temporalities

Columbia Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us .