Asemic Cinema: Run-A-Way Bus

Welcome to the Asemic Cinema, where opening  shots& titles tell a different story from the one passing before your eyes. This week’s classic comes from a time & place that once was/will be.  It is a re-write of  The Runaway Bus (1954), a British Mystery-Comedy – please note that the sub-titles have been deconstructed to find alternative meaning.

 

Conversation finds

travellers seeking motion

commotion in lines.

 

Asemic Noir: Make the Message Count

make-the-message-count

Make the message count

rapt in seconds away from – death

a knock at the door.

make-the-message-count-2

Scratched glass hides sounds

under lampshade shadow’s light –

an unmarked parcel.

make-the-message-count-3

Fingers peel back emotions

Like The Man who cheated himself

clock hands clap to time.

make-the-message-count-4

Unlock the clasp’s chill,

Empty chamber full of fear –

Breathing plans at night.

 

make-the-message-count-5

Who’s the Fool now ?

Midnight Messenger’s mistress –

walking out backwards.

 

make-the-message-count-6

Note: Stanzas are Haiku variations.  The B&W shots are from opening cuts of the noir film, The Man who Cheated Himself ( 1950 ) – can be found on archive.org .

Notification of Executive Orders: Very Nice, Very Nice

notification-of-executive-order

A point of view can be a dangerous luxury when substituted for insight and understanding.

Marshall McLuhan

 

People who have made no attempt to educate themselves live in a kind of dissolving phantasmagoria of the world, that is, they completely forget what happened last Tuesday. A politician can promise them anything, and they will not remember later what he has promised.”

 

In 1961, The National Film Board of Canada produced Arthur Lipsett‘s first film, Very Nice, Very Nice. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing. It evokes a world swamped with information and imagery but barren of meaning and filled with longing.

We become what we behold. We shape our tools and then our tools shape us.

Marshall McLuhan

 

notification-of-executive-order-2

We drive into the future using only our rearview mirror.

Marshall McLuhan

Screen Adjustments

screen-adjustment

Starting with a capture of my computer screen,  a process of modification and transformation turns the image of the screen into content . This content becomes a sequence of images.  The images make use of the  framing styles found in a variety of older photographic processes,  imitating their codes and conventions.  Note that found text and asemic writing make up part of the text of the image content, blending different forms of media into a digital composition. Included at the end of  this post is Thibault de Fournas’s very well done short video about typography , presenting the codes and conventions of printed type on paper and concluding with how it is used in cinema.

 

screen-adjustment-2

 

screen-adjustment-3