Johnny Greenwood mixing score for IV; frame of PTA film in background

[bandwraith at aol.com]

The other parallel with Blow-up fits both IV and BE. Along with,
or as a function of, the self-reflexive themes involved with mediation
and knowing (self and otherwise), there is the plot- Who Dunnit?-
detective stories on which the metaphysics hangs.  It's as unclear if
the mid-60's Blow-up is modern or post-modern, as it is unclear
for the early Pynchon works. I vote for post-modern. But like
Blow-up, IV and BE have evolved the question to: "Who Done What"?

We're left with the effects of "What". The end of the postmodern.
An arbitrary demarcation caused by an arbitrary sequence of
events with reverberations that transcend the divide.



-----Original Message-----
From: Mark Kohut <markekohut at yahoo.com>
To: bandwraith <bandwraith at aol.com>; pynchon-l <pynchon-l at waste.org>
Sent: Fri, Apr 4, 2014 12:14 pm
Subject: Re: Johnny Greenwood mixing score for IV; frame of PTA film in 
background



This IV observation is new to the plist, I think, at least new to me 
and
FASCINATING.
 
I can add this:" Blow-Up and Other Stories" by Julio Cortzar was 
published
in the United States shortly after (maybe even before movie released, 
dunno) the success of Antonioni's Blow-Up.
 
I recently learned from a reputable source, I hope--that is, it was 
publicly reported in a piece/essay---that TRP
anonymously translated my favorite story from it: "Axolotl", about a 
man who becomes so obsessed with staring at this
aquarium fish that, in a quick magic realism ju-jitsu move by Cortazar, 
he is suddenly the fish staring back at us reading
about his staring.
 
Anyway, it seems almost certain TRP would have read Cortazar's BLOW-UP 
at an inspirational time.



   On Friday, April 4, 2014 6:13 AM, "bandwraith at aol.com" 
<bandwraith at aol.com> wrote:


Well, I mean, it could also be just a clip from the CCTV
sequence that might  include the "Money Shot" of Glen's
murder, and so, would necessarily be unprofessional and
undirected. That part of IV, with it's "nested" settings
of subject/object concerns- a character watching his own
filming- and achieving a self-awareness somewhat closer
to that of the reader/audience, reminded me of Antonioni's
classic 60's release- "Blow-up", which I think Pynchon is
quoting. And if Pynchon is not quoting Antonioni, then I bet PTA will.


-----Original Message-----
From: John Bailey <sundayjb at gmail.com>
To: Jamie McKittrick <jamiemckit at gmail.com>
Cc: pynchon-l <pynchon-l at waste.org>
Sent: Thu, Apr 3, 2014 9:39 am
Subject: Re: Johnny Greenwood mixing score for IV; frame of PTA film in
background


It is. The colour grade of the IV frame on the TV looks odd. The
colour temperature is wrong. It's not adjusted to tone down the blue
end of natural light (our eyes usually adjust make it seem more
earthy). Also looks like it was shot on real film, maybe even 16mm.
Anderson knows his real film stocks.

It looks like he might even be going for a deliberately amateur 70s
vibe, like an exploitation film from the era. That would be massively
encouraging. The naive framing (Joaquim's face is perfectly centred,
which is expressly forbidden in any film school's first lesson) adds
to this theory.

On Thu, Apr 3, 2014 at 10:54 PM, Jamie McKittrick
<jamiemckit at gmail.com> wrote:
> Is this interesting?
>
> http://i.imgur.com/QrY5M8L.jpg
-
Pynchon-l / http://www.waste.org/mail/?list=pynchon-l


 
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