正在同步电影信息
In1971GardnerhiredRobertFulton(thegreatgrandsonoftheinventorofthesteamboat),toteachfilmmakingattheCarpenterCenterforthe1971-72year;andduringthisbrieftenure,FultonproducedReality'sInvisible,oneoftheremarkableexperimentaldocumentariesoftheera--and(asistrueforFulton'sentireoeuvre)ofofthemostunderappreciated.Fultonwouldgoontomakeasubstantialbodyofwork--thoughasyet,noonehascompiledanythinglikeadefinitiveFultonfilmography...<br/> [...]<br/> InkeepingwiththeCarpenterCenteritself,whichisdescribedontheCenter'swebsiteasareflectionofLeCorbusier'sbeliefthat"abuildingdevotedtothevisualartsmustbeanexperienceoffreedomandunboundcreativity"andmustrepresenta"'synthesisofthearts',aunionofarchitecturewithpainting,sculpture,"Fulton'sfilmprovidesacinematicexperienceasfarfromtheconventionalastheCarpenterCenterisfromtheHarvardbuildingsthatsurroundit.Indeed,theexperienceofReality'sInvisibleoftenvergesontheoverwhelming;itcombinesmyriadkindsofimageryandapproachestoshootingwithdizzyingeditingtoprovideaphantasmagoriaoflifeinandaroundthebuildingandapaeantounboundedcinematicfreedom.Reality'sInvisiblehasthecelebratoryenergyofDzigaVertov'sTheManwithaMovieCamera(1929)butwithoutthestructureprovidedbythatCitySymphony'scompositeday--thoughasReality'sInvisibleunfolds,wedobegintorecognizeavarietyofmotifsinadditiontotheCarpenterCenterbuildingitself:particularindividuals(includingRobertGardner)),kindsofactivities,editingrhythms.<br/> [...]<br/> ...Reality'sInvisibleisfullofmultilayeredimagery:weareregularlyseeingoneimageandonekindofimagethroughothers.Fultonusesmore,andmorecomplex,layersofsuperimpositionthananyotherfilmmakerIamawareof,withthepossibleexceptionofBrakhage,whoseDogStarMan(1964)seemsaparticularlyimportantinfluenceofFulton.SinceeachlayerofFulton'ssuperimpositionismadeupofquicklyshiftingimagery,orisinterruptedbysplitscreenimageryofonedesignoranother,theeffectofReality'sInvisibleissomethinglikeacinekaleidoscope.Touseaphraseofoneofthestudents,Fulton'sepiccelebrationoftheCarpenterCenterisaformof"seriousplayingaround":itreflectsonandembodiesthehigh-spirited,deeplyseriousworkandplaythatthebuildingrepresentstohim.<br/> －－－from"AmericanEthnographicFilmandPersonalDocumentary:TheCambridgeTurn"byScottMacDonald<br/> Whatmakesaninstitution?ThisisaquestionwhichanimatesProgram,anongoingprojectbyartistMartinBeckatHarvard’sCarpenterCenterfortheVisualArtsthathastakenshapeasaseriesofinterventions,publications,andrelatedeventsaroundtheCenter’sparticularhistories.ForarecentepisodeofProgram,BeckscreenedafascinatingyetlargelyforgottenworkbyRobertFulton,Reality'sInvisible,andproducedaDVDwithdesignerJamesGogginoftheotherwiseunavailablefilmthatwasthendistributedtostudentspursuingartandcinemaattheuniversity.<br/> FultonmadethefilmduringhisbrieftimeatHarvard,wherehehadbeeninvitedtoteachbyRobertGardner,hisfriendandcollaborator(FultonwouldlaterserveasacinematographeronGardner’s1981documentaryDeepHearts,amongothers).Reality'sInvisiblecouldbedescribedasaportraitoftheCarpenterCenter,yetitisaportraitofanextremelyidiosyncraticanddistinctivesort.FultonmovesusthroughtheconcretespaceoftheCenter’sLeCorbusier-designedbuilding—theonlystructurebythearchitectinNorthAmerica—but,morecentrally,presentsusfootageofstudentsmakinganddiscussingtheirworkalongsidefigureslikeGardner,theoristRudolfArnheim,artistStanVanderbeek,filmmakerStanBrakhage,andgraphicdesignerToshiKatayama.Fultonreconfiguresthesebasicelementsinaradicallynon-linearfashion,structuringthefilmasabreathtakinglyrapidstreamofsoundsandimages,usingobliqueangles,saccadiccameramovement,single-frameshots,dynamicsuperimpositions,elaboraterephotography,directanimationandnumerousothertechniquestoconveythemanifoldactivitiesandideasgeneratedwithinandaroundtheCarpenterCenter.<br/> InasubsequentdiscussionwithArnheimandGardneronGardner’stelevisionprogramScreeningRoom,FultondescribedhisprocessbehindReality'sInvisible.“Normallywethinkofanimageasaninformation-conveyingunit,”heexplained.“Well,morethanthat,itdoeshavekinestheticproperties,inthatitgeneratesacertainenergy,acertain‘tone’ifyoulike.”Elsewhere,hedescribeshisgoalto“constructoverallcadences”outoftherecordsofindividualperceptions,employingamusicalmetaphorinordertoventurebeyondhistoricalnotionsoffilmform.Reality'sInvisiblethusservesasanexemplaryinstanceofalargerprojecttakingplacearoundBostonthatscholarScottMacDonaldhastermed“theCambridgeturn,”arethinkingofdocumentaryinvolvingnotonlyGardnerandhiscircle,butalsofilmmakerssuchasFrederickWiseman,EdPincus,andRossMcElwee,tonamejustafew.Fulton’sfilmperfectlycapturesthisera'sspiritofinquiry,boththroughitsunconventionalstrategiesandthewayitsverycompositionmirrorsanexperimentalethosofarteducation.<br/> －－－Lightindustry