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

[John Bailey]

Both Blowup and almost all of P's writing shift the focus from
"whodunnit?" to "who didn't do it?"

Pornographies of detection and deduction. We're all implicated as observers.



On Sat, Apr 5, 2014 at 11:12 PM,  <bandwraith at aol.com> wrote:
> 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
>
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