Post #10
“This is the accomplishment of Requiem in so many image-frames, ever-expanding, ever-refreshing. The frame is not an artificial contrivance, but an expression of cinema in a very pure form. The fixation on the image-frame in Aronofsky, or Tarkovsky, or Lynch, is a fixation on cinema’s imaginary life.”
#10 Bruce Isaacs, of the Department of Art History and Film Studies at the University of Sydney, Australia, on the intoxication of the image-frame in Requiem, in all its convex glory.
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