Laconia: 1,200 Tweets on Film
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If the sound bite is the new order, then how do we make every word count? In today's surplus world of communication overload and cultural clutter, writer and cultural critic Masha Tupitsyn turns to the media matrix of Twitter to explore the changing ways that we construct and consume narrative. Loosely applying the discerning aphorism--a compressed genre in itself--to a 21st century context, LACONIA: 1,200 TWEETS ON FILM offers meditations on film and popular culture that resonant with laconic meaning and personal insight while getting to the heart of the matter. Inspired by Chris Marker's free-associative film impressions in La Jetee and Sans Soleil, LACONIA is part film diary, part cultural inventory, and part mashup. Pulling from an array of film, popular culture, books, and mainstream news, it offers penetrating critical commentary on an increasingly muddled virtual world. LACONIA consists of brick by brick prose, as Tupitsyn thinks in sentences and lines that culminate in an architecture of thinking.
Life and Times has YSL looking at a screen that shows his life, which spawns a biography; a life made from images; images 1:19 AM Nov 26th 423. YSL has to see in order for them to feel real, which is what life is like for most people these days. First YSL looks at the images of his 1:21 AM Nov 26th 424. life onscreen, which we watch him do, and then we see what he sees. 1:22 AM Nov 26th 425. “It seemed real. It seemed like us.” Raising Arizona 5:59 PM Nov 26th 426. Watching Raising
fall in love with it, if an image can work its way into our daily life, 8:43 PM Dec 21st 572. couldn’t we do the same and take a trip in the other direction?...Chris Marker saw Vertigo nineteen times, as we learn in Sans Soleil. 8:44 PM Dec 21st 573. Nineteen times he was pulled into Vertigo’s spiral.” Court-Circuit (le magazine) 8:44 PM Dec 21st 574. I’m convinced that at the end of E.T., just before E.T. gets on the spaceship to go home, My Fair Lady’s “I Could Have Danced All Night”
679. When I was seventeen, I wrote: “The screen is a bond between viewers. It gives them something to agree on; to equate seeing with knowing; 6:01 PM Jan 12th 680. to synchronize thoughts; to be on the same page, to put culture into people’s bodies, to splice images with desires; to share a narrative 6:01 PM Jan 12th 681. they don’t share; to know where to put their eyes, like hanging a coat on a hook.” 6:02 PM Jan 12th 682. In Don’t Look Now, Nicolas Roeg adds a red agent—an abstraction
Stepford Wives, Bryan Forbes, 1975, USA. 117. Night at the Museum 2: Battle of the Smithsonian, Shawn Levy, 2009, USA. 118. Kosinki, Jerzy. Steps. Grove Press, 1997. 119. The Bad and the Beautiful, Vincente Minnelli, 1952, USA. 120. Pan’s Labyrinth (El Laberinto del Fauno), Guillermo del Torro, 2006, Spain. 121. The Spirit of the Beehive (El Espíritu de la Colmena), Victor Erice, 1973, Spain. 122. Harris, Mark. Scenes from a Revolution: The Birth of the New Hollywood. Canongate Books, 2008.
Wig. Tarpaulin Sky, 2005. 160. Hardy, Ernest. “For Colored Girls: Taboo Buster or Tool of the Oppressor?” LA Weekly (November 13-19, 2009). 161. Say Anything, Cameron Crowe, 1989, USA. 162. The Wizard of Oz, Victor Fleming, 1939, USA. 163. Scream, Wes Craven, 1996, USA. 164. Flesh, 1968, Paul Morrissey, USA. 165. Trash, Paul Morrissey, 1970, USA. 166. Heat, Paul Morrissey, 1072, USA. 167. Teorema, Pier Paolo Pasolini, 1968, Italy. 168. Harbison, Robert. Reflections on Baroque. University