When we encounter a visual effect we’ve already seen, it fails to impress us. When we see a visual effect we’ve never seen before, the “wow factor” comes from the fact that we know some human being must have been responsible for manufacturing that image and now that we’ve seen it, this new thing gets added to our internal list of things we know people are capable of. Spectacle is the effect of watching a person do something we didn’t actively realize people could do.
Spectacle theater movie#
According to the popular wisdom, spectacle is just one of those things where “You’ll know it when you see it.” What’s useful about this way of thinking is that if spectacle cannot be defined in specific terms, then there’s no way for a filmmaker to reliably cultivate it, and nobody can be blamed when a movie fails to offer spectacle to the audience. Most folks in Hollywood believe that spectacle is an impossible thing to define.
Spectacle theater professional#
Among the many diamonds of understanding I’ve compressed and subsequently mined in my years of professional disintegration and reconciliation is this: Just as the title of that first Stage 32 blog suggests, I’ve had the opportunity and the motivation to rigorously evaluate what it is I’m doing in Hollywood, how I’m doing it, and why. For the sake of brevity (hah!), let me say here that I was a Development Executive for nearly a decade, that I’m now working as a screenwriter on some high-profile projects, and that I’m building a film company with the support of many of independent Hollywood’s best and brightest. All aspects of cinematic sound – a composed score, music, spoken language – are used to reflect the connections between image and narration creating a very specific atmosphere, whereas the “real“ backstory of a work is often revealed much later, be it the history of an abandoned salt mine in Romania or a portrait of a high-tech funeral home in Australia.In my inaugural Stage 32 blog, entitled Reality Checks from an Inspirational Cripple, I discuss the extent and the price of my insight into film development. Occasionally, this duration becomes a metaphor for the literal “lifetime” of protagonists, objects, and buildings. Precisely composed images expose their own constructedness and testify to the artist’s interest in cinematic duration.
Like in the horror-movie genre he works with audiovisual situations which affect the bodies of the spectators, provoking an uncertainty, sometimes a slight restlessness. “A kind of black humor pervades Patrick Topitschnig’s videos. Patrick Topitschnig is an Austrian filmmaker and audio artist whose works also include collaborations with theatre projects. With this film and all her others, Catalina Alvarez gets to know her neighbors. Her 16mm shorts include Paco, the story of a man who wants you to bounce on his lap. In her anthology documentary, Sound Spring, residents of Yellow Springs, Ohio become actors lip-syncing to their own interviews, narrating their village’s role in American history over hundreds of years. Schnitzl, 2006, 15sec, Video, Austria, Patrick TopitschnigĬatalina Alvarez makes choreographed films and experimental musicals. RUMOR MACCHINA, 2009, Video, 2:44, Austria, Patrick Topitschnig Paco 2016, 16mm film transferred to Video, 12 min, USA, Catalina Alvarez Mark&Garry, 2013, Video, 7:20, Australia, Patrick TopitschnigįELD, 2019, Video, 5:21, Mexico, Patrick Topitschnig
KRIPPE/CRIB, 2012, Video, 6:06, Austria, Patrick Topitschnig Wherethereisawill, 2005, Video, 2:42, Austria, Patrick TopitschnigĬarusel, 2017, Video, 5:47, Romania, Patrick Topitschnig Fluxers filmmakers Patrick Topitschnig and Catalina Alvarez will present a selection of films at Williamsburg’s cooperatively led Spectacle Theater.
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