This is an exercise on cinema. Or on its images. Drawing is like unveiling, a cognitive process that focuses on realities that could not be understood otherwise. Looking at "The Eternal Sunshine of the Spotless Mind" I started drawing some frames, choosing a (digital) brush and a very limited color palette.
I realized only later that I had chosen some frames because they were not simple well-composed but they were also stories in themselves. Perhaps isolated did not explain the first and the following in which they were situated in the narration but, indeed, taken individually were already stories. I would say in other words that they were stories in themselves that did not necessarily relate to the story from which they came from. They had their own autonomy. Sometimes, once drawn, they have taken on a different meaning from the original one.
The frames, once isolated, have an independent life. The more the photograph is curated, the stronger the images that make the narration. It is as if a film contains a parallel story that has no relation to the main one. If you isolate each frame, you get another story or a series of stories, maybe unrelated the one to the other.
The photography of a good film is not made of only well composed images. A good cinematographic photography is not the sum of thousands of perfect images but some perfect and others less memorable that make sense in the economy of narration: they create a tension between perfect images and normal ones, giving prominence to the first ones. A film made only with photographically perfect shots would be unbearable. A film made of variations is more tense and dense and keeps the attention alive. A narrative unfolds between joints and changes of direction between which things happen and then lead to the next junction. The joints are represented by some significant images but what comes before or after must not be as significant. It is a vessel that takes you from one point of narration to another.
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