isabella andronos_the motion picture ruin_ research paper_ bva honours photomedia_sydney college of...

8/22/2019 Isabella Andronos_The Motion Picture Ruin_ Research Paper_ BVA Honours Photomedia_Sydney College of the Arts

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Sydney College of the Arts

The University of Sydney

Bachelor of Visual Arts (Honours)

2011

BACHELOR OF VISUAL ARTSRESEARCH PAPER

THE MOTION PICTURE RUIN

by

Isabella Andronos

Photomedia

[email protected]

isabellaandronos.com

October 2011
mailto:[email protected]:[email protected]


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Acknowledgements

This research paper was written in Annandale and Rozelle. I would like to acknowledge

the Wangal and Cadigal people, the traditional custodians of the land.

Thank you to Fabia Andronos, Melissa Laird, Perry Andronos, Peter Cozens, Tanya

Peterson and Alex H Mack. A special thank you to Anne Ferran.

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Table of Contents

List of Illustrations... 4

Introduction ........ 7

Chapter One: Pictures on Plastic and the Digital Clone ..... 10

Chapter Two: Digital Decay ... 21

Chapter Three: Topography of Time.. 37

Conclusion: The End.... 49

Bibliography. 52

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List of Illustrations

Figure 1. Eric Rondepierre, Masques from Prcis de Dcomposition(A Short History of

Decay) series, 1993-1995, silver print on aluminium, 47 x 70cm.

Figure 2. Bill Morrison, Decasia, 2002, 35mm, 70 mins, no sound, score by Michael

Gordon.

Figure 3. Isabella Andronos, 1:13:07 (Diary of a Lost Girl), screen capture from DVD

(Diary of a Lost Girl, 1929, directed by Georg Wilhelm Pabst, 104 mins, black and white,

silent, Kino Video, 2001).

Figure 4. Isabella Andronos, 1:03:25 (Diary of a Lost Girl), screen captures from DVD



Figure 5. Isabella Andronos, 1:20:47 (King Creole, 1958), 2011, screen capture from

DVD (King Creole, 1958, directed by Michael Cutiz, Paramount Pictures).

Figure 6. Isabella Andronos, 0:50:27 (The 39 Steps, 1935), 2011, screen capture from

DVD (The 39 Steps, 1935, directed by Alfred Hitchcock, Gaumont British Picture

Corporation).

Figure 7. Jon Rafman, 412 US-9W, Bethlehem, New York from 9 Eyes series, 2009,

capture from Google Street View.

Figure 8. Google Street View, 412 US-9W, Bethlehem, New York, screen capture from

October 3, 2011.

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Figure 9. Thomas Ruff, jpeg ny02 from jpeg series, 2004, chromogenic print, 2.69 x

3.64m.

Figure 10. A selection of code created by opening a jpeg image in WordPad.

Figure 11. Rebecca Baron and Douglas Goodwin, Lossless #3, 2008, digital video, 10

mins, colour, with sound.

Figure 12. A still frame from Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192

mins, colour, with sound (stereo), Twentieth Century Fox (2001).

Figure 13. Isabella Andronos,Motion Picture Ruins (Cleopatra, 1963), 2011, video, 6

mins, no sound.

Figure 14. Isabella Andronos, Motion Picture Ruins (Bring It On, 2000), 2011, video, 6

mins, no sound.

Figure 15. Andy Warhol,Kiss, 1963, 16mm, 54 minutes (at 16 fps), black and white, no

sound.

Figure 16. Christian Marclay, The Clock, 2010, single-channel video, 24 hours, colour

and black and white, with sound.



Figure 18. Tracey Moffatt, Love, 2003, video, 21 minutes, colour and black and white,

with sound (stereo), edited by Gary Hillberg.

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Figure 19. Douglas Gordon,Between Darkness and Light (After William Blake), 1997,

two-channel video, dual vision screen, 107 mins, 155 mins, colour and black and white,

with sound.

Figure 20. Isabella Andronos,Motion Picture Ruins (Titanic, 1997), 2011, video, 6 mins,

no sound.

Figure 21. Isabella Andronos, Motion Picture Ruins (To Catch a Thief, 1955), 2011,

video, 6 mins, no sound.

Figure 22. The End title from Black Sunday, 1960, directed by Mario Bava, 87 mins,

black and white, Umbrella Entertainment (2005).

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Introduction

Everything comes to nothing, everything perishes, everything passes,

only the world remains, only time endures.

Denis Diderot, The Salon of 1767, 1767.

Digital data is immaterial; it transcends the physical, existing as series of numerical

values, as ones and zeros. In this sense, the digital is often thought of as a medium

impervious to decay. The duplicable quality of digital files is sometimes misunderstood to

mean that the information is infinite. However, the digital is susceptible to failure and

decay. Malfunctions and errors can occur, processing algorithms can degrade files, data

can be accidentally erased and lost forever in an instant and there are problems with access

and technological obsolescence. This project examines technology, time and processes of

decay in relation to the physical and digital break down of the motion picture. The motion

picture ruin comes to reflect a point between the creation and the demise of the image,

where the moving image has been significantly impaired by processes of decay.

Through watching my favourite films repeatedly on DVD (Digital Versatile Disc), I began

to notice small anomalies located in certain frames; I came to see unintentional dust curled

across a landscape, abstract marks which would block out a characters face, and evidence

of chemical decomposition, which would flash on the screen for a twenty-fourth of a

second. Capturing these elusive frames from Hollywood motion pictures became the

starting point of my project. The evidence of damage reflected a tension between the

motion picture image and the effects of time on the physical film print. This duality of

time provided a visual layering, as the film print came to exist with a damaged surface,

one which was now replicated in the DVD version. As evidence of physical damage now

contained in a digital format, I began to question what decay meant in terms of the digital

age; what would happen to digital files if they became degraded. Through my project I

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found that digital decay was possible, evidenced in the way that digital information could

be broken down at the level of data.

The first chapter of this paper, Pictures on Plastic and the Digital Clone explores my

initial investigations of the physical degradation of the motion picture film print, examined

through the DVD and underpinned by Baudrillards notion of data as an extermination of

the real. In my paper, the DVD is explored as a copy of the physical film print. In this

sense, the images I collected showed an impression of tangible damage, now contained as

digital data. Rondepierres photographic series, Prcis de Dcomposition(A Short History

of Decay) (1993-1995), and Bill Morrisons film, Decasia (2002) are examined as

examples of works which depict decay as a covering, a trace of the temporality of the

print.

The second chapter of this paper, Digital Decay, explores the faults of the digital image

and the related aesthetic possibilities. Understanding that digital information can

decompose, degrade and deteriorate, this chapter investigates traces of digital failure

evident in the image. John McAndrews notion of destructural aesthetics, explores the

process of breaking down digital images to achieve aesthetic results. This idea is

examined in relation to Jon Rafmans 9 Eyes series (2009), Rebecca Baron and Douglas

Goodwins Lossless #3 (2008) and Thomas Ruffs jpeg series (2004). The glitch, as a

malfunction in technology, can be seen as related to both visual and sound mediums. In

this chapter, the glitch is discussed in relation to the still and moving digital images. The

writing of Iman Moradi on the glitch-alike expands on this idea, looking at the potential

of artists to synthesise intentional errors in technology. Fundamental to the creation of my

final video work is the technique data-moshing which is discussed as a process of digital

decay; as a planned corruption of data based on a compression algorithm.

The third chapter of this paper, Topography of Time, explores the way time can be traced

in relation to the motion picture. Christian Marclays real time video piece, The Clock

(2010), Tracey Moffatts composite video, Love (2003), and Douglas Gordons layered

video work, Between Darkness and Light(1997), are discussed as examples of time and

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its relationship to the motion picture. Real timeis a term used in this chapter to express

the idea that the events that occur in the playback of the film directly match the audiences

experience. Andy Warhols film,Kiss (1963), is used as an historical link to this concept.

The temporal aspects of cinema are discussed in this chapter, exploring different ways in

which motion pictures can be altered to create new experiences of time.

Through the research investigations and experimentations associated with this project, I

was able to develop an understanding of organic, chemical and digital decay manifested in

the motion picture. My final work, in the form of a video, came to constitute a visual

experience of digital decay. Using appropriated film clips from cinema and the data-

moshing technique, I was able to re-write cinematic time and break down the moving

images of the silver screen.

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Chapter One

Pictures on Plastic and the Digital Clone

The storytellers have not realised that the Sleeping Beauty

would have awoken covered in a thick layer of dust1

Georges Bataille,Poussiere (Dust), 1929.

The film print acts as the initial form of most motion pictures; it can be seen as a series of

still frames forged onto plastic. With nitrocellulose, cellulose-acetate or polyester as the

predominant bases used in the film stock, the motion picture print is inevitably subject to

processes of decay. Developed in 1995, the DVD became a popular means of distributing

motion pictures, outdating the VHS (Video Home System) which had popularised home

entertainment systems. Awoken from storage to be converted into the new digital format,

motion picture film prints had begun to show evidence of their physical existence. Like

Batailles Sleeping Beauty, traces of dust had crept onto the surface of the still frames.

Bacterial damage, chemical decay, marks and scratches now marred the surface of the

plastic.

As a digital approximation of the information from the original film print, a copy of the

tangible, the DVD came to include this evidence of damage in every disk. The DVD acted

as a digital capture of the images at a point before their inevitable failure; a snapshot from

the life of plastic. Stored on the optical disk, the information was now comprised of

encoded binary data, ones and zeros, rather than analogue information. When linked to the

writing of Jean Baudrillard, the conversion of the film print to digital data can be

considered as a kind of cloning. Baudrillard states,

1 Georges Bataille,Poussiere (Dust), in Le Dictionnaire Critique, Documents, no. 1

(Paris, 1929); translated Iain White, in Encyclopaedia Acphalica (London: Atlas Press,

1995), 42-43.

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The perfect crime is that of an unconditional realization of the world by the

actualization of all data, the transformation of all our acts and all events into

pure information: in short, the final solution, the resolution of the world

ahead of time by the cloning of reality and the extermination of the real by its

double.2

This idea can be strongly linked to the way the film print relates to the DVD and the Blu-

ray, with the physical analogue information condensed into data, and the digital clone

taking precedence over the original.

The mortality of the film print is examined in Eric Rondepierres photographic series,

Prcis de Dcomposition(A Short History of Decay) (1993-95). The images show points

in aged silent films where the print has been deformed by decay. By using works of the

early cinema, Rondepierre alludes to the ephemeral condition of the film print. The images

represent a layering of time, observed in the way the image on the film stock becomes

overwritten by the temporal affects of decay. In Rondepierres Masques (Figure 1) a

coronet of deterioration now adorns the female figure. The womans face has been

bleached out, an effect caused by the imposition of time and decay on the image.

Exploring motion pictures beyond the diegetic elements of their composition, the decay

can now be seen as a layer which obscures the original image. Rondepierres work acts as

a way of visualising the mortality of the motion picture.

Unstable and highly flammable, much of the nitrate-based film of the silent film era has

been lost or badly damaged. In Decasia (2002), Bill Morrison compiled fragments of

found footage sourced from this era, as a way of exploring the decay of the image in

moving sequences. A scene in Morrisons work shows a merry-go-round at a carnival (see

Figure 2). The perpetual movement of the ride is undermined by large sections of black

damage which fill each frame. The deterioration appears like a dark cloud, arriving in

abstract formations across the image. The decay acts as a layer which exists in the

2 Jean Baudrillard, The Perfect Crime. (Translated by Chris Turner, London and new

York: Verso, 1996), 25.

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Figure 1. Eric Rondepierre, Masques from Prcis de Dcomposition(A Short History of

Decay) series, 1993-1995, silver print on aluminium, 47 x 70cm.

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Figure 2. Bill Morrison, Decasia, 2002, 35mm, 70 mins, no sound, score by Michael

Gordon.

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same frame as the images but is asynchronous to the original narrative. Through this work

Morrison has created an awareness of the film print as a perishable object.

Laura Mulvey states, Everyone knows that celluloid consists of a series of still frames

that have been, by and large, inaccessible to the film spectator throughout its history.3

With the digital age, a new level of accessibility is possible. Using DVDs and a program

on my computer called InterVideo WinDVD 5, I began to create screen captures of

damaged frames from motion pictures. The screen capture, as a method of creating a still

image by recording the items visible on a computer monitor, became a way of digitally

copying the images from the DVD. In this sense, the image created was a screen capture

copy of a DVD copy of an image originally printed on film; it was a clone of a clone.

Played at 25 fps (frames per second), a two hour film is comprised of 180 thousand still

frames. Through technological processes I was able to slow and stop the motion picture to

reveal specific frames, to consider them as single images. Mulvey suggests, Digital

technology enables a spectator to still a film in a way that evokes the ghostly presence of

the individual celluloid frame.4 An individual frame I copied from Diary of a Lost Girl

(1929) (Figure 3) shows evidence of decay of the film print, likely to be caused by

chemical breakdown. The decay overwrites the original print, masking the face of the

character in the frame. It becomes combined with the image, existing unified as data on

the DVD.

A series of screen captures I made from the same motion picture show damage to the film

print which extends in an unbroken line across three frames of Thymian (Louise Brooks)

(see Figure 4). With the frames displayed as consecutive still images, as they exist on the

film print, the damage can be seen as continuous. This is a detail which would likely be

missed when broken into separate images to be played in a moving image sequence. Laura

Mulveys aesthetics of delay, which embraces such processes as slowing, pausing, or

extracting stills from narrative cinema acts as a way of exploring

3 Laura Mulvey, Death at x24 a Second: Stillness and the Moving Image, (London:

Reaktion, 2006), 26.4Ibid.

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Figure 3. Isabella Andronos, 1:13:07 (Diary of a Lost Girl), screen capture from DVD



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Figure 4. Isabella Andronos, 1:03:25 (Diary of a Lost Girl), screen captures from DVD



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the materiality of the medium.5 Related to the three stills from Diary of a Lost Girl it

becomes a way of looking at the physicality of both analogue and digital mediums. By

delaying the images through digital technology, an imprint of the initial physical form of

the film print can be traced.

Shown as still images, damage and decay came to act as intrusions on scenes from cinema.

An image I found from King Creole (1958) (Figure 5), shows a black void over Danny

Fishers (Elvis Presley) face, which disrupts the clichd gaze of the two romantic leads.

The tarnished surface of the print eclipses Dannys profile almost entirely, leaving a dark

circular mark in its place. While the stain is superficial, as a coincidence, Ronnies

(Carolyn Jones) expression suggests a sense of confusion as though she is staring right at

it. This idea, of decay as a disturbance of the cinematic scene, became an underlying

theme throughout my project. A similar scene was evidenced in a still frame from The 39

Steps (1935), where Pamela (Madeleine Caroll) came to gaze at an intrusive dark smudge

across the face of Hannay (Robert Donat). Also evident in the frame is image noise, as

superfluous colour information (see Figure 6). Although the film was originally made in

black and white, the still shows small trace elements of colour scattered throughout the

frame. This helps to map the possible history of the film from its origin on black and white

35mm film, to its transition to VHS, and then to DVD. It is likely that the original 35mm

print was lost or too badly damaged to be converted to DVD, so a VHS version was used

instead. Through the extraneous noise information, the transformation through different

technologies can be observed. The still image documents a layered chronology, a

subliminal element of time.

An ancient Buddhist teaching states, Decay is inherent in all compounded things.6 This

idea suggests a fundamental truth of existence that all things must disintegrate. It was

obvious to me how this idea related to the motion picture film print; as a physical

5 Laura Mulvey,Death at x24 a Second: Stillness and the Moving Image, (London:

Reaktion, 2006), 192.6 Siddharta Gautama, Buddha, quoted in T. Patrick Burke, The Major Religions: An

Introduction with Texts (Blackwell Publishing: Malden, USA Oxford, UK Cartlon,

Australia, 2004), 71.

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Figure 5. Isabella Andronos, 1:20:47 (King Creole, 1958), 2011, screen capture from

DVD (King Creole, 1958, directed by Michael Cutiz, Paramount Pictures).

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Figure 6. Isabella Andronos, 0:50:27 (The 39 Steps, 1935), 2011, screen capture from

DVD (The 39 Steps, 1935, directed by Alfred Hitchcock, Gaumont British Picture

Corporation).

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object comprised of plastic matter, the print would eventually decay to nothing. A point of

interest for me was the use of the word compounded. Understanding the DVD as a

compound of data, with the images contained as encoded information, I became engrossed

in the concept of digital decay; how digital images could deteriorate. My initial research,

as outlined, provided me with a way of examining the degraded images of the silver

screen and the residues of time evidenced through organic, chemical and technological

processes. I went in search of digital decay, interested in what would happen to motion

picture images if they were to be decayed or corrupted at the data level.

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Chapter Two

Digital Decay

Terms used to describe the degradation of digital media make reference to organic

processes, software entropy, data decay, link rot. Data can become corrupt, it can

malfunction or glitch, it can deteriorate through digital processes. While digital files are

not susceptible to exactly the same kind of organic deterioration as plastic-based film

prints, they become vulnerable to digital decay. The aesthetic properties of the glitch, or

the malfunction of technology are examined in Jon Rafmans, 412 US-9W, Bethlehem,

New York from the 9-Eyes series (2009). Thomas Ruffs jpeg series (2004) explores

compression artefacts of the digital age, sourcing poor quality media photographs from the

September 11 attacks on the United States. Digital decay is further explored through Iman

Moradis discussion of the glitch-alike, as a forced or synthesised glitch. Rebecca Baron

and Douglas Goodwins Lossless (2008), is examined in relation to this idea as an

intentional corruption of the motion picture. This chapter addresses the philosophies of

digital decay, channelled through an interest in the visual and technical qualities of the

digital fault.

Digital technology is susceptible to failure; malfunctions can occur which produce un-

planned aesthetic results. The glitch acts as a signifier of a technological problem. In

visual media, it can be considered a short-term error which interrupts the continuity of the

sequence. John McAndrew defines the glitch stating,

The glitch is an unwanted technical discrepancy which, in video and

electronic moving image technology at least, appears as damage within the

audio-visual field.7

7 John McAndrew, Destructural Video, (B.A. diss. Fine Arts, University of Cumbria,2009, https://docs.google.com/fileview?

id=0B5wuaeJRnoGMOTlkODRkZmItZTRiZS00ZDkzLThlZjYtMjMwNDkxMzUxZDAx

&hl=en_GB), 1. [accessed 10/07/2011]

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The glitch can be seen as an electrical pulse manifested in the digital landscape. Occurring

due to software crashes, computer bugs, lack of computer memory, interruptions in

downloads, weak signal strength, physical damage, overheating, and disruptions in image

processing, the glitch has many varied forms. In relation to electronic moving images, the

glitch can be seen as a temporal manifestation of the failure of technology. It has a

phantasmic presence; appearing and then vanishing. My most common experience of the

glitch is in relation to television reception; the poor strength of the signal leads the image

on the screen to become corrupt. The glitch creates a sense of chaos; it confuses the data

of the signal, manifesting itself by replicating parts of the image, by forming large pixel

blocks and by freezing sections. While its appearance can be anticipated, its form remains

elusive; the glitch is an amorphous entity. There is a sense of amnesia once the glitch

disappears, the television program returns to its original state without flaw.

John McAndrew explores the idea of destructural aesthetics as a way of using the

medium-specific faults of machines as tools for art-making. The term destructural is a

combination of the words deconstruct, structural and destruct, three words which

reflect ideas associated with processes of digital decay. McAndrew states,

Destructural video is an art movement of video and moving image artists who

aestheticize the exploration of medium specific flaws which perpetrate

themselves as visual and/or audible glitches in their work.8

This idea provides a means to explore the failures of machines and the ensuing results as

aesthetic tools. While machines can output glitched images, it is people who ascribe

aesthetic meaning to them. Angela Lorenz states, Computers obviously have no idea or

opinion about aesthetics, let alone beauty.9 The destructural aesthetic created by

machines reflects a pure abstraction of form, it becomes a mechanical vision.

8 Ibid., 31.9 Angela Lorenz, interview, Glitch: Designing Imperfection, (New York: Mark Batty

Publisher, 2009), 12.

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The work of Jon Rafman explores ideas of self and identity in the digital age. His series, 9

Eyes (2009) is a collection of images taken from Google Street View. Created by vehicles

with nine cameras attached to the roof, the Google Street View images are automatically

captured every ten to twenty meters.10Rafman states,

The detached gaze of their cameras witness but do not act in history. Street

View photography, artless and indifferent, without human intention, ascribes

no particular significance to any event or person.11

Taking these images from the context of a functional mapping system into the art realm,

Rafman exploits the mechanised documentary style in which the images have been

created. As a process which inherently relies on digital technologies, there is always the

possibility that the machines will malfunction. My interest lies in the images Rafman has

found where a technological disfiguration has occurred. A corrupt image of412 US-9W,

Bethlehem, New York(Figure 7) shows a road tinted pink with digital noise. Jagged shapes

caused by the glitch rise out of the ground forming strange caverns. It is as though the

scene has been stretched along a vertical axis; the glitch has warped the visual information

evident in the image, creating an abstraction of shape and colour. As an image which I

could re-access through the internet on Google Street View, I became curious about

whether the area was still depicted in its glitched state. Exploring the site in pursuit of an

image which was similar to Rafmans became an uncanny experience. Despite using

Rafmans co-ordinates, I couldnt find the glitch anywhere. As confirmation of the failure

of technology, Google has removed the glitch and replaced it

10 The Google Maps project was launched by Google on May 25, 2007, and uses a process

of digital mapping, taking photographs of selected areas and compiling them into aninteractive virtual image.11 Jon Rafman, Sixteen Google Street Views, exhibition catalogue, (Golden Age:

Chicago, 2009), 1.

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Figure 7. Jon Rafman, 412 US-9W, Bethlehem, New York from 9 Eyes series, 2009,

capture from Google Street View.

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Figure 8. Google Street View, 412 US-9W, Bethlehem, New York, screen capture from

October 3, 2011.

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with an untainted image. All I was able to find was a standard image from the site (see

Figure 8), which somewhat resembled Rafmans image.

Pixels are understood to be the smallest element in the composition of digital images; they

act as single points of colour used in the display of an image. By viewing digital images at

a large scale, or by compressing a majority of the data, pixel components can become

exposed as obvious square shapes in the image. This is known as pixelation. Thomas

Ruffs,jpeg ny02, from hisjpegseries (2004) (Figure 9) is a highly pixelated image from

the September 11 2001 terrorist attacks on the United States. The image shows the iconic

image of the aftermath of the plane crashing into the World Trade Centre in New York

City. Distributed virally online, the image has become a substitute for memory; it now acts

as a collective cultural reference point for the event. It can be considered a compression

artefact as the image visually defected, with large, block-like pixels distorting the image.

This effect is created by the deleterious lossy compression algorithm, which depletes the

quality of the image, saving only an approximation of the original image. Printed large

scale, at close to four metres wide, the pixelation becomes explicit. The visual information

is broken up into blocks which appear like the dots in the Pointillist paintings of Georges

Seurat. Ruff utilises pixelation as a visual technique to explore the way that we interact

with digital media; how we have accepted poor resolution into our experience of image

viewing. In this sense, Ruffs image constitutes an exploration of the digital decay of the

image.

The glitch-alike, a term used by Iman Moradi, refers to a forced glitch; a way of

intentionally corrupting technology for visual results. Digital images are comprised of data

which is encoded electronically by machines and displayed in a way that people can

comprehend. Figure 10 shows a section of the data which comprises an image opened in a

text editor. To a computer, there is no difference between this information and what we

understand to be a picture. The sequence of symbols and characters can be seen as a

computer language. Glitch a-like techniques use this digital information and

intentionally manipulate it. Moradi writes,

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Figure 9. Thomas Ruff, jpeg ny02 from jpeg series, 2004, chromogenic print, 2.69 x

3.64m.

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__JFIF___________C__________________________________________________________________C_____________________________________________________________________@____"_________________________________ _

_________________}________!1A__Qa "q_2 _#B_R$3br_____%&'()*456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz__________________________ _

__________ ______w_______!1__AQ aq_"2 __B #3R_br_$4%____&'()*56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz_________?____.__FyMv b__

Figure 10. A selection of code created by opening a jpeg image in WordPad.

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Glitch artists either synthesise glitches in non-digital mediums, or produce

and create the environment that is required to invoke a glitch and anticipate

one to happen12

Data-moshing is a common glitch-alike technique which is based on a compression

algorithm. When a video file is compressed, every frame is turned into either an I-Frame

(Intra-coded picture) or a P-Frame (Predicted picture). The I-Frames store the pixel

information which is put together to create a visible image. The P-Frame records the

changes in pixel movement from one frame to the next. In this sense, the I-Frame can be

seen as responsible for colour and composition of the image, while the P-Frame controls

the way these change to create the perception of movement. Recording only the changes in

pixel movement, the file size can be made smaller. This is called image compression. The

process of data-moshing involves splitting the information in the data-stream into a larger

number of P-Frames and then removing the I-Frames, leading the pixels in one image to

move according to the motion information in the next. By breaking down and corrupting

data through the technique, data-moshing can be seen as a form of digital decay, an

intentional disruption of digital information which in turn, creates an aesthetic outcome

sympathetic to McAndrews destructural aesthetics.

Glitch-alikes are used by artists to corrupt data in order to achieve visual results. To

createLossless #3 (2008), Rebecca Baron andDouglas Goodwin altered the keyframes in

a digital version of John Ford's film The Searchers (1956), which obscured the

composition of the original images. A scene from the film shows a group of cowboys

riding horses across a desert landscape. Broken up into block-like shapes, as the figures

traverse the screen, they leave a trail of coloured pixels behind them (see Figure 11). The

work explores a tension between the time of the motion picture and the mechanical

12 Iman Moradi, Glitch Aesthetics, (B.A. diss., Multimedia Design, The University ofHuddersfield, 2004,

http://www.oculasm.org/glitch/download/Glitch_dissertation_print_with_pics.pdf), 11.

[accessed 10/07/2011].

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Figure 11. Rebecca Baron and Douglas Goodwin, Lossless #3, 2008, digital video, 10

mins, colour, with sound.

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vision of the process, which leaves a trace of the movements which occur in the frame.

The work is titled Lossless, a term that refers to a digital process where compressed data

can return to its original state without being affected. By using this term, Baron and

Goodwin make reference to technical jargon, to the language of the digital.

Jon Rafmans glitch artefact, 412 US-9W Bethlehem, New York (2009), Thomas Ruffs

pixelated jpeg ny02 (2004), and Rebecca Baron and Douglas Goodwins glitch-alike

video, Lossless #3 (2008)can be seen as examples of processes of digital decay. In my

work I became interested in exploring similar processes and how they related to the

moving image. Hollywood films became the starting point for my work, with the scenes I

chose to work with unified in their depiction of the Hollywood kiss. I collected

fragments of footage which were originally from commercial motion pictures where two

characters shared a kiss. This kind of scene was chosen as the raw material of the work as

it came to represent the idealism of Hollywood and the narrative unfolding of human

desires, as well as being a familiar trope of cinema. I was able to combine footage, to re-

purpose cinema in the space of the virtual.

Through the duplicable qualities of digital data, images from film can be copied, altered

and appropriated by anyone with the right devices. Discussing artists of the 1990s,

McAndrew suggests,

With the popularity of the internet as a creative communication tool, as well

as the rise of illegal file sharing programs allowing copyrighted material to

be freely shared between users, artists had an incredible wealth of

information available outside of the control of television broadcasters, film

distributors and music companies.13

13 John McAndrew, Destructural Video, (B.A. diss. Fine Arts, University of Cumbria,2009, (https://docs.google.com/fileview?

id=0B5wuaeJRnoGMOTlkODRkZmItZTRiZS00ZDkzLThlZjYtMjMwNDkxMzUxZDAx

&hl=en_GB),17. [accessed 10/07/2011].

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Digital appropriation and sampling became an important part of my process of art-making.

I was able to download clips from the video sharing website, Youtube, cut them and

convert them to AVI (Audio Video Interleave) files in AVS Video Converter 7, arrange

them inAdobe PremierePro CS3, alter the keyframe number inffmpegXand corrupt the

work in Avidemux. Interested in the free culture movement, as an understanding of the

open sharing and appropriation of existing creative material, Youtube became a way to

access a multiplicity of ideas. Using selections from fan videos, kiss compilation videos

and small excerpts from motion pictures which had been uploaded to the site, each clip

was no wider than 480 pixels and limited to 2 MB (megabytes) in size. The graphic

quality of the videos, some highly pixelated, was visually similar to Ruffs jpegseries.

Invoking a malfunction in the digital landscape, my work now had the visual qualities of a

glitch, but as the environment for the malfunction was planned and created, it could more

accurately by understood as a glitch-alike. By data-moshing the clips I was able to

combine and re-purpose different motion pictures, pursuing a visual experience of digital

decay. The process became like digital alchemy, transmuting digital motion picture files

into other visual forms.

Through the work, I wanted to show a rupture in the myth of Hollywood idealism;

reducing the stardom of the actors and the majesty of the scene to broken data. With the

digital surface disrupted through the data-moshing technique, one kiss began to morph

into another, providing an endless cycle of digital entropy. Exploiting the digital motion

and colour information, the images became distorted, with pixels rising and pulling in

formations, replicating and synthesising themselves in time. As I was able to arrange the

clips in an order which would generate the most interesting aesthetic results, the process

became a form of digital painting. Remnants of scenes which had previously appeared

were pulled through the video as traces of colour. Figure 12 depicts a kissing scene from

Cleopatra (1963) on DVD, while Figure 13 shows a still from my video work where the

same digital information has been distorted. As a clip from the comedy, Bring It On

(2000) existed directly before the Cleopatra clip in my video work, the colours of the

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Figure 12. A still frame from Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192

mins, colour, with sound (stereo), Twentieth Century Fox (2001).

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Figure 13. Isabella Andronos,Motion Picture Ruins (Cleopatra, 1963), 2011, video, 6

mins, no sound.

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cheerleader characters were continued into this scene. The hair of Cleopatra (Elizabeth

Taylor) became coloured with the red and green uniforms of the cheerleaders (see Figure

14). Moving like an aqueous surface in the video, the colour information and the way it

was shifted into different scenes became a way of visualising the breakdown of the digital.

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Figure 14. Isabella Andronos, Motion Picture Ruins (Bring It On, 2000), 2011, video, 6

mins, no sound.

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Chapter Three

Topography of Time

Linked to the idea of topography, as a way of plotting surface and shape, the motion

picture can be understood as a map of time. Time can be seen in the initial stages of the

creation of the images on the light sensitive emulsion of the film print. It is also evident in

the rapid shift of still images to create the illusion of movement. Laura Mulveys idea of

cinema time, acts as a way of understanding the temporal structure of the motion picture.

Time can be related to the ability of the film, tape or optical disc to be paused, re-wound

and fast-forwarded. There is also the length in hours, minutes and seconds it takes for a

motion picture to run its course. In contrast to this understanding is Henri Bergsons

concept ofdure (duration) as a means to reflect on a personal experience of time. Art

works which use cinema to explore the topography of time include Christian Marclays

real time video piece, The Clock(2010), Tracey Moffatts composite video, Love (2003),

and Douglas Gordons layered video work,Between Darkness and Light(1997). Each of

these works explore the potential for impressions of time to exist within the moving

image.

Andy Warhols film Kiss (1963) shapes an understanding of real time in relation to the

moving image. In a work devoid of narrative continuity, Warhol shows a series of couples

kissing unscripted for roughly four minutes each. In this sense, a depiction of real time is

created as the audiences experience of watching the event unfold on screen is in direct

parity to the time in which it took place. Figure 15 shows a still from the work of a young

man and woman kissing. Warhol states,

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Figure 15. Andy Warhol,Kiss, 1963, 16mm, 54 minutes (at 16 fps), black and white, no

sound.

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Of course what I think is boring must not be the same as what other people

think is, since I could never stand to watch all the most popular action shows

on TV, because they're essentially the same plots and the same shots and the

same cuts over and over again.14

Warhol subverts the idea of the narrative structure of commercial cinema by allowing the

kiss, as a moment which is so often seen in Hollywood, to continue on screen in real

time. Without dialogue or score, the work remains silent. This further removes the work

from a traditional cinematic experience, reinforcing it as a film exploring the temporal

associations of the motion picture.

Christian Marclays, The Clock(2010), augments Warhols explorations of real time and

the motion picture. Marclay has sampled thousands of existing motion pictures, drawing

out segments which feature an analogue or digital clock, timepiece, clock tower or spoken

reference to time. Marclay takes symbols of the temporal from motion pictures and brings

them into real time; the work becomes a cinematic timepiece created from disparate

fragments. Famous clocks act as markers throughout the work; included is the scene of

Big Ben exploding at midnight from V for Vendetta (2006), and the infamous scene from

Pulp Fiction (1994) where a young Butch (Chandler Lindauer) receives his great

grandfathers watch. There is diversity in the time-pieces shown; early in the morning,

there seem to be more alarm clocks, while at four in the afternoon wall clocks feature. To

represent the time 4:10, a scene from Jean-Pierre Jeunets Amelie (2001) is shown (see

Figure 8), with the excerpt featuring French dialogue and the close up of a large analogue

clock face as the second hand ticks around. Later on in the work, a 90s style cell phone

rings. A shot of the blue screen of the phone is shown reading, Incoming Call. Annas

Cell. 04:12pm (see Figure 9). The work creates a hyper-awareness of the enduring and

cyclical nature of time and its significance for the silver screen. By weaving scenes

together in this way, Marclay creates a bridge between

14 Andy Warhol,POPism: The Warhol 1960s (New York: Harcourt Brace Jovanovich,

1980), 50 quoted in Lars Svendsen,A philosophy of boredom, (London: Reaktion Books,

2005), 104.

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different cinematic genres, technology and time; he draws out these segments and gives

them a new context. While the source footage comes to be inherently associated with the

past, the fact that the work functions as a working clock brings the footage into the

present. Darian Leader states, Through this technique of montage he [Marclay] shows us

that our experience of time is not only a given but also something constructed. 15 In this

sense, Marclays work reflects on the idea of the enduring cycle of time, and by extension,

the condition of mortality.

Tracey Moffatts video work, Love (2003), corrupts narrative time, isolating moments

from 153 existing films and montaging them into a new moving image sequence. Moffatt

has derived subliminal meaning from the motion pictures, arranging them in a way which

mocks the conventional cinematic ideal. The work begins with clips which illustrate

romantic relationships. Among these scenes is the iconic kiss in the rain between Holly

Golightly (Audrey Hepburn) and Paul Varjack (George Peppard) in the finale ofBreakfast

at Tiffanys (1961). This scene has come to be inextricably associated with classic film

and the melodrama of the silver screen. Shown alongside a dramatically lit kiss between

Frances Stevens (Grace Kelly) and John Robie (Cary Grant) from To Catch a Thief(1955)

(Figure 18), Moffatt parodies these repetitious Hollywood scenarios. The work takes an

aggressive turn as scenes of arguments, slaps and physical violence are shown, with

Moffatts narrative finally escalating to murder. Moffatt has remixed motion pictures,

arranging the segments to suit her own narrative. By organising cinema in this way, her

work acts as a critique of the hyperbolic drama and violence used in motion pictures. The

work comes to reflect an investigation of Mulveys cinema time, examining the way the

narrative sequence is constructed.

Douglas GordonsBetween Darkness and Light (After William Blake) (1997) shows two

films projected onto a single translucent screen, which can be seen as a layering of time.

Using The Exorcist (1973), directed by William Friedkin, and The Song of Bernadette

(1943), directed by Henry King, Gordon creates a compound of the two films,

15 Darian Leader, Glue in The Clock: Christian Marclay, (London: White Cube, 2010),

2.

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Figure 18. Tracey Moffatt, Love, 2003, video, 21 minutes, colour and black and white,

with sound (stereo), edited by Gary Hillberg.

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overlapping them into a single entity (see Figure 19). As the two films play out on top of

each other, tensions are created between the graphic qualities of each work. At points

where both films show bright images, the screen becomes overexposed, as the light from

the projector eclipses the images from the motion pictures. By combining these two films,

Gordon comments on religious binary opposites, revealed in a comparison of the

otherworldly forces that drive the lead character in each story. In The Exorcist, Regan

MacNeil (Linda Blair) is driven by forces of evil; she is possessed by the Devil. In The

Song of Bernadette, Bernadette Soubirous (Jennifer Jones) is driven by powers of good;

she is guided by her visions of the Virgin Mary and lives as a devout Catholic. With two

layers of vision in a single frame, Gordon has created a complex topography of time.

Gordon comments on the layering of the films stating, A telephone would ring in The

Exorcist, and someone would wake up in bed in Saint Bernadette, like as if to answer the

telephone.16 Projected light simultaneously merges the motion pictures together, creating

a visual fusing of the temporal images of each work.

Similarly, by data-moshing clips together in my video work, I was able to re-write

cinematic time, to compound segments from motion pictures to explore new visual

potential. Mulvey suggests, My point of departure is an obvious everyday reality: that

video and digital media have opened up new ways of seeing old movies.17This is true of

my video work as through digital media I was able to subvert the chronology of the

traditional cinematic experience. In my work, the plot isnt resolved through the kiss, the

violins dont soar, and the two lead characters dont fall in love for the rest of their lives.

Similarly to WarholsKiss (1963), it acts more as an investigation of the constructs of the

motion picture. My work also recalls the opening of Moffatts Love (2003), with the

romantic kisses she has appropriated from motion pictures. Both Moffatt and I have used

the kiss scene from the finale ofBreakfast at Tiffanys (1961) in our works. By data-

moshing the images, I was able to merge clips from chick flicks, musicals, period

16 Douglas Gordon, interview, Meet The Artist: Douglas Gordon Part 2 of 2, 47:21,

SmithsonianVideos on Youtube, uploaded 07/08/2008, http://www.youtube.com/watch?v=SjYb6EN0v8w, [accessed 04/10/2011]17 Laura Mulvey,Death at x24 a Second: Stillness and the Moving Image, (London:

Reaktion, 2006), 8.

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Figure 19. Douglas Gordon,Between Darkness and Light (After William Blake), 1997,

two-channel video, dual vision screen, 107 mins, 155 mins, colour and black and white,

with sound.

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dramas, classics, science-fiction, made-for-tv movies, blockbusters, as well as scenes from

television shows. Considering Marclays The Clock (2010) and Gordons Between

Darkness and Light(1997) in relation to my own work, multiple fictions from varied and

often unrelated sources have been combined together in a similar way. With the aim of

bridging cinema and time, my video work came to reflect a layered topography of motion

picture images.

My video is comprised of elements which are both static and in motion. This complex

duality relates to the way in which the data-moshing process alters the digital information.

As previously discussed, the process maps a still frame of data information onto a moving

image sequence. This creates a space in the digital landscape for the moving image to

intervene with the still as the temporalities become forged together, mapped into a single

plane of existence. By placing the iconic kiss between Rose (Kate Winslet) and Jack

(Leonardo Di Caprio) on the deck from Titanic (1997) (Figure 20) in front of the kiss from

To Catch a Thief(1955), the two motion pictures became merged. As the last frame of the

clip from Titanic features a sunset, bold oranges and pinks have become plotted onto

Hitchcocks scene (see Figure 21); the suit jacket of John (Cary Grant) now vibrantly lit

with the colours of the clichd romantic sunset. In this sense, the video takes on qualities

of a palimpsest. Popular in the Middle Ages, the palimpsest was a surface on which

writing could be contained. Made of vellum, the palimpsest was scraped clear with milk

and oat bran to make new space for new written words. This process left traces of the

original texts underneath layers of new writing. My video work can be seen as a

contemporary palimpsest, showing residual layers of digital information built up on top of

one another.

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Figure 20. Isabella Andronos,Motion Picture Ruins (Titanic, 1997), 2011, video, 6 mins,

no sound.

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Figure 21. Isabella Andronos, Motion Picture Ruins (To Catch a Thief, 1955), 2011,

video, 6 mins, no sound.

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Conclusion

The End

It became apparent to me as I worked on this project that motion pictures could become

degraded through organic, chemical, and digital processes. Though manifesting very

different visual results, I came to realise the similarities between these processes lay in

their destructive qualities. Beginning with an exploration of damage to motion pictures,

framed by an interest in organic and chemical deterioration, I began to explore the idea of

residual layers. This led me to look to the digital, as a compound of data, searching for

evidence of degradation. My final work became an exercise in digital entropy, mutating

the idyllic kisses of Hollywood into an impermanent miasmic surface. Through the

evidence of the marred surface of motion pictures, time and recorded human histories can

be contemplated. We can understand decay as a process which affects all things. Decay

goes beyond cinema, beyond art; it is fundamentally concerned with the concept of

mortality.

This project affected my suspension of disbelief as, in every motion picture I watched, I

became attuned to evidence of failure evidence of physical damage to the film print, of a

trace of digital processes, and of the glitch. I would take a break from my studies and

watch an episode ofXena: Warrior Princess, only to have the television glitch from poor

reception. With digital seen as the future of moving image technology, digital decay will

be something that will come to affect our viewing experiences more and more.

Understanding the way that technology ages, I have submitted a DVD of my video work

with this paper. As a technology on the verge of being superseded by the Blu-ray and by

internet downloads, the DVD is a medium which will soon become redundant. In the same

way the floppy disk and the VHS have become obsolete, so too will the DVD. As such,

the disc is presented as a monument to the Digital Dark Age. In this context, it is

interesting to consider that the writing contained in the Dead Sea Scrolls, which are dated

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between date between 150 BCE and 70 CE can still be read, while a floppy disk, without a

drive and a compatible computer, has been rendered indecipherable in only thirty years.

As reproducible media, digital technologies are often confused with the idea of eternity. In

fact, the digital is susceptible to failure, deterioration and decay as all things are.

Exploring this idea in relation to cinema, my project came to be an investigation of the

motion picture in ruin.

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Figure 22. The End title from Black Sunday, 1960, directed by Mario Bava, 87 mins,

black and white, Umbrella Entertainment (2005).

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used from Huddy Kiss - Slow Motion, by JustHuddy, 1:23, uploaded October

29, 2008.

http://www.youtube.com/watch?v=R8u3Xw1VAVU [accessed 10/10/2011]

58


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Femme Fatale, 2002, directed by Brian De Palma, 114 mins, colour, with sound, Epsilon

Motion Pictures/ Quinta Communications. Clip used from bM1249

RebeccaRomijn@FemmeFatale 2, by Krepps777, 1:32, uploaded on June 24,

2009,

http://www.youtube.com/watch?v=z1zqiDvyKWg [accessed 13/10/2011]

Honey, 2003, directed by Bille Woodruff, 94 mins, colour, with sound, Universal

Pictures; Marc Platt Productions; NuAmerica Entertainment. Clip used from 3

movie kisses, by romeoandjuliet93, 4:10, uploaded on October 4, 2008.


The Tourist, 2010, directed by Florian Henckel von Donnersmarck, 103 mins, colour,

with sound, GK Films; Spyglass Entertainment; Birnbaum/Barber; Studio Canal.

Clip used from Angelina jolie all kisses in the tourist, by rangeroverjen, 0:45,

uploaded on February 3, 2011,

http://www.youtube.com/watch?v=92p5kslrjgA [accessed 10/10/2011]

Hallmark Hall of Fame, The Secret Garden, #37.1, 1987, directed by Alan Grint,

100mins, colour, with sound, Hallmark Hall of Fame Productions; Rosemont

Productions; Viacom Productions. Clip used from Colin Firth in The Secret

Garden 1987, by forevergreenning, 0:41, 2:00, uploaded on November 27, 2010,

http://www.youtube.com/watch?v=OHe9JZc-YmU [accessed 10/10/2011]

The Curious Case of Benjamin Button, 2008, directed by David Fincher, 166 mins,

colour, with sound, Warner Bros. Pictures; Paramount Pictures;

Kennedy/Marshall Company. Clip used from The Curious Case of Benjamin

Button Love Scene Brad Pitt, by CherryPout, 3:42, uploaded on February 26,

2010,

http://www.youtube.com/watch?v=F5bE6aXITMo[accessed 13/10/2011]

The Mask of Zorro, 1999, directed by Martin Campbell, 136 mins, colour, with sound,

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TriStar Pictures; Amblin Entertainment; David Foster Productions. Clip used

from ZORRO" Kiss - Antonio Banderas and Catherine Zeta Jones -

HD, by sagapo4, 3:56, uploaded April 2, 2011,

http://www.youtube.com/watch?v=cbvAjfYU8JY [accessed 13/10/2011]

Romeo and Juliet, 1996, directed by Baz Luhrmann, 120 mins, colour, with sound,

Bazmark Films; Twentieth Century Fox Film Corporation. Clip used from romeo

and juliet balcony scene, by tuttyxxfruity, 9:13, uploaded on Mar 13, 2008.

http://www.youtube.com/watch?v=XLWPg3SCYH4 [accessed 13/10/2011]

Herbie Fully Loaded, 2005, directed by Angela Robinson, 101 mins, colour, with sound,

Walt Disney Pictures; Robert Simonds Productions. Clip used from 3 movie

kisses, by romeoandjuliet93, 4:10, uploaded on October 4, 2008.


The Wedding Singer, 1998, directed by Frank Coraci, 95 mins, colour, with sound, Juno

Pix; New Line Cinema; Robert Simonds Productions. Clip used from The

Wedding Singer - Church Kiss, by moviescenes4u, 1:26, 2:20, uploaded on

November 1, 2008,

http://www.youtube.com/watch?v=eetoyOPtzLg [accessed 10/10/2011]

The Royal Tenenbaums, directed by Wes Anderson, 2001, 110 mins, colour (technicolor),

with sound, Touchstone Pictures; American Empirical Pictures. Clip used from

The Royal Tenenbaums, by bekinho, 4:36, uploaded on February 9, 2008.

http://www.youtube.com/watch?v=QKnvD5Ok5iY [accessed 10/10/2011]

60


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The Lord of the Rings: The Two Towers, 2002, directed by Peter Jackson, 179 mins,

colour, with sound, New Line Cinema; WingNut Films; The Saul Zaentz

Company. Clip used from viggo mortensen kissing in lord of the ring, by

1supercoolboy, 3:00, uploaded on August 12, 2010.

http://www.youtube.com/watch?v=SpE9P7V-Ai0 [accessed 13/10/2011]

The Mummy, 1999, directed by Stephen Sommers, 125 mins, colour, with sound,

Universal Pictures, Alphaville Films. Clip used from The Mummy - Evy and

Rick, by blackdahlia1879, 1:32, 1:46, uploaded September 6, 2007,

http://www.youtube.com/watch?v=8pCnUVElo_A [accessed 10/09/2011]

Notting Hill, 1999, directed by Roger Michell, 124 mins, colour, with sound, Polygram

Filmed Entertainment. Clip used from Top 20 Movie Romances, by skimguard,

10:38 mins, uploaded on November 23, 2008, http://www.youtube.com/watch?

v=oJQYOGG7ro0 [accessed 25/08/2011]

The Lake House, 2006, directed by Alejandro Agresti, 99 mins, colour, with sound,

Warner Bros. Pictures. Clip used from Movie Kisses Crash Into Me, by

louise107, 5:14 mins, uploaded on May 8, 2007,

http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011]

The Lady Eve, 1941, directed by Preston Sturges, 94 mins, black and white, with sound,

Paramount Pictures. Clip used from Classic Hollywood Smooches, by

MonroeSmile, 3:15 mins, uploaded on April 18, 2009,

http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011

The Adventures of Robin Hood, 1938, directed by Michael Curtiz, William Keighley,

102 mins, colour (Technicolor), with sound, Warner Bros. Pictures. Clip used

from Classic Hollywood Smooches, by MonroeSmile, 3:15 mins, uploaded on

April 18, 2009,

http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011

61


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Cruel Intentions, 1999, directed by Roger Kumble, 97 mins, colour, with sound,

Columbia Pictures Corporation. Clip used from Favorite kissing scenes, by

ilovenateriver, 1:31mins, uploaded on May 22, 2009,

http://www.youtube.com/watch?v=2MD_1WQzUrw [accessed 25/08/2011]

The Breakfast Club, 1985, directed by John Hughes, 97 mins, colour (Technicolor), with

sound, Universal Pictures. Clip used from Favorite kissing scenes, by

ilovenateriver, 1:31 mins, uploaded on May 22, 2009,


The Sound of Music, 1965, directed by Robert Wise, 174 mins, colour, with sound,

Twentieth Century Fox Film Corporation. Clip used from Greatest Story Ever

Told TV and Movie Kisses, by FirstTwinBorn, 4:15 mins, uploaded on

August 30, 2008,

http://www.youtube.com/watch?v=8-N6xrLNQN4 [accessed 25/08/2011]

Miss Congeniality, 2000, directed by Donald Petrie, 109 mins, colour, with sound, Castle

Rock Entertainment. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins,

uploaded March 24, 2007,


Roman Holiday, 1953, directed by William Wyler, 118 min, black and white, with sound,

Paramount Pictures. Clip used from Movie Kiss Montage by

victoriaEGS, 5:56 mins, uploaded August 4, 2007,

http://www.youtube.com/watch?v=ehSIuW_Wxmo [accessed 25/08/2011]

62


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Ever After: A Cinderella Story, 1998, directed by Andy Tennant, 121 mins, colour

(Technicolor), with sound, Twentieth Century Fox Film Corporation. Clip used

from Best Films Kisses, by elsewhatelse95, 3:46 mins, uploaded on August 8,

2009,

http://www.youtube.com/watch?v=KAFVYSH7KJM [accessed 25/08/2011]

The Princess and the Marine, 2001, directed by Mike Robe, 100 mins, colour, with sound,

Aloe Entertainment; Columbia Tristar Television; Proud Mary Entertainment;

Stephanie German Productions. Clip used from Hollywood Romantic Scenes, by

alm260, 4:39 mins, uploaded on October 26, 2008,

http://www.youtube.com/watch?v=TdqU9KRMCWM [accessed 25/08/2011]

Casablanca, 1942, directed by Michael Curtiz, 102 mins, black and white, with sound,

Warner Bros. Pictures. Clip used from Movie Kiss Montage by victoriaEGS,

5:56 mins, uploaded August 4, 2007,


First Daughter, 2004, directed by Forest Whitaker, 106 mins, colour, with sound,

Regency Enterprises. Clip used from Chick Flick Kisses, by Piamj, 4:44 mins,



Manhattan. 1979, directed by Woody Allen, 96 mins, black and white, with sound, Jack

Rollins & Charles H. Joffe Productions. Clip used from Movie Kiss Montage

by victoriaEGS, 5:56 mins, uploaded August 4, 2007,


63


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Nuovo Cinema Paradiso, 1988, directed by Giuseppe Tornatore, 155 mins, colour, with

sound, Cristaldifilm. Clip used from Movie Kiss Montage by victoriaEGS, 5:56

mins, uploaded August 4, 2007,


You Were Never Lovlier, 1942, directed by William A. Seiter, 97 mins, black and white,

with sound, Columbia Pictures Corporation. Clip used from Classic Hollywood

Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009,

http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011]

Bridget Joness Diary, 2001, directed by Sharon Maguire, 97 mins, colour (Technicolor),

with sound, Little Bird; Studio Canal; Working Title films. Clip used from

Movie Kisses Crash Into Me, by louise107, 5:14 mins, uploaded on May 8,

2007,

http://www.youtube.com/watch?v=anMVWtF_lgM [accessed 25/08/2011]

Friends, 1994 - 2004, created by David Crane, Marta Kauffman, 22 mins, colour, with

sound, Warner Bros. Television, Bright/Kauffman/Crane Productions. Clip used

from Best Kisses in TV/Movies 3/3 Hanging by a Moment, by citychicbasic,

3:42 mins, uploaded on February 17, 2009, http://www.youtube.com/watch?

v=xI7pHsCDMro [accessed 25/08/2011]

The Dreamers, 2003, directed by Bernardo Bertolucci, 115mins, colour, black and white

(archival footage), with sound, Recorded Picture Company (RPC); Peninsula

Films; Fiction Cinematografica S.p.a. Clip used from Movie Kiss Montage by



64


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The Philadelphia Story, 1940, directed by George Cukor, 112 mins, black and white, with

sound, Loew's; Metro-Goldwyn-Mayer (MGM). Clip used from Movie Kiss

Montage by victoriaEGS, 5:56 mins, uploaded August 4, 2007,


Pretty in Pink, 1986, directed by Howard Deutch, 96 mins, colour (Technicolor), with

sound, Paramount Pictures. Clip used from Best Kisses in TV/Movies 3/3

Hanging by a Moment, by citychicbasic, 3:42 mins, uploaded on February 17,

2009,

http://www.youtube.com/watch?v=xI7pHsCDMro [accessed 25/08/2011]

Candy, 2006, directed by Neil Armfield, Australia: 116 min; UK, USA: 108 min, colour,

with sound, Film Finance; The New South Wales Film and Television Office;

Paradigm Hyde Films. Clip used from Best Films Kisses elsewhatelse95, 3:46

mins, uploaded on August 8, 2009, http://www.youtube.com/watch?

v=KAFVYSH7KJM [accessed 25/08/2011]

Big Fish, 2003, directed by Tim Burton, 125 mins, colour, with sound, Columbia Pictures

Corporation; Jinks/Cohen Company; The Zanuck Company. Clip used from

Hollywoods best kisses HollywoodGirl1245, 4:25 mins, uploaded on August19,

2008,

http://www.youtube.com/watch?v=5dnYbKp5q6E [accessed 25/08/2011]

Titanic, 1997, directed by James Cameron, 194 mins, colour, with sound, Twentieth

Century Fox Film Corporation; Paramount Pictures; Lightstorm Entertainment.

Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded

August 4, 2007,


65


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To Catch a Thief, 1955, directed by Alfred Hitchcock, 106 mins, colour (Technicolor),

with sound, Paramount Pictures. Clip used from From Movie Kiss Montage by



Xena: Warrior Princess, 1995 2001, created by John Schulian, Robert G. Tapert, 60

mins, colour, with sound, MCA Television; Renaissance Pictures; Studios USA

Television. Clip used from From Lonely Day-a xena and marcus music video,

by georgiemaryk, 2:56 mins, uploaded on February 1, 2008,

http://www.youtube.com/watch?v=3GyIdJfIyGA [accessed 25/08/2011]

Cover Girl, 1944, directed by Charles Vidor, 107 mina, colour (technicolor), with sound,

Columbia Pictures Corporation. Clip used from From Classic Hollywood

Smooches, by MonroeSmile, 3:15 mins, uploaded on April 18, 2009,

http://www.youtube.com/watch?v=ZShPWOBPMec [accessed 25/08/2011]

Get Over It, 2001, directed by Tommy O'Haver, 87 mins, colour, with sound, Miramax

International; Ignite Entertainment; Keshan. Clip used from Chick Flick Kisses,

by Piamj, 4:44 mins, uploaded March 24, 2007,


A Cinderella Story, 2004, directed by Mark Rosman, 95 mins, colour, with sound,

Warner Bros. Pictures/ Gaylord Films/ Clifford Werber Productions. Clip used

from Favorite kissing scenes, by ilovenateriver, 1:31 mins, uploaded on May

22, 2009,


Camille, 1936, directed by George Cukor, 109 mins, black and white, with sound, Metro-

Goldwyn-Mayer (MGM). Clip used from Movie Kiss Montage by



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Bring It On, 2000, directed by Peyton Reed, 98 mins, colour, with sound, Beacon

Communications. Clip used from Chick Flick Kisses by Piamj, 4:44 mins,



Cleopatra, 1963, directed by Joseph L. Mankiewicz, 192 mins, colour, with sound,

Twentieth Century Fox Film Corporation; MCL Films S.A.; Walwa Films S.A.

Clip used from Movie Kiss Montage by victoriaEGS, 5:56 mins, uploaded

August 4, 2007,


Vertigo, 1958, directed by Alfred Hitchcock, 128 mins, colour (Technicolor), with sound,

Alfred J. Hitchcock Productions; Paramount