Kinet is a virtual studio dedicated to the production and dissemination of new, boundary pushing avant-garde cinema.
Four Talks by @kenotype given between 2019-2021 are now up on Diopter.
There’s ideas guiding the work, there’s a hypothesis. When we say ‘experimental film,’ I don’t think experimental film is just trying out a bunch of things, it’s experimental like experimental science. We have a hypothesis, we have predictions, we have mathematical formulae. In this way we can talk about a theory of montage, a theory of the edit, and it’s reducible to, let’s call them letters. When we talk about its relationship to being closer to a science, it means it is mathematizable, like with physics we’re talking about mathematics in a particular physical world. This discovery and invention of patterns, this understanding of patterning, how to track a pattern, and also continue it, infer how else it can continue, I wouldn’t say it’s reducible to a narrative idea. And even in terms of an ‘intention’ of the scientist, no matter who uses the Kuleshov effect and these types of ideas, it is not reducible to “so-and-so shot it.” No matter who or what the auteur is, no matter their race or gender, once you do a Kuleshov effect, there are a couple of things that are invariant.
It’s an old editing experiment but in the sense of an experiment, we were able to repeat it, and many other filmmakers have been able to use it to this day. I think it’s not reducible to the fact that it was invented in a local place, let’s say the USSR. Even though a particular historical being did the experiment, the fact it’s repeatable, and we can confirm its hypotheses, it’s universally transmissible.
I can now montage the forms of montage: AB can crosscut, collide, show identity and/or difference, from CDECDE, if there are variations within CDE that are different from CDECDE, I can cut CDE within CDECDE, or A and B themselves can have a new relationship to AB etc. And you end up with a whole new set of interactions between internal logics of montage within what now counts as shots, and these have their own geometry and produce thoughts that can touch on the entirety of the picture. So it’s not only the tripod, lens, sensor, and memory card that produces shots, but the shots themselves when cut and exported produce shots. It escapes what’s given in experience, this point of view that is assumed to be guaranteed within a shot, it turns shots into something more immediately conceptual. Exporting becomes a form of shooting or recording.
origamiaround
andulkaphoto
yousharknotpass
baratheonpilled
