By Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,
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Additional resources for Afterall: A Journal of Art, Context, and Enquiry volume 24 Spring 2010
Shadows are a part of the frame. They are a part of the programme, not what catches it out. The force of the offscreen derives precisely from the fact that it is not framed. Shadows in the frame are not the same as the off-screen in shadow; in this ﬁlm, the off-screen is deliberately out of the picture. It took three ﬁlms to arrive at this shelving of an old accessory of classical cinematic dramaturgy. Goodbye Jacques Tourneur, goodbye Nicholas Ray, goodbye Fritz Lang! And even Danièle Huillet and Jean-Marie Straub, goodbye!
8 IV By the time of In Vanda’s Room, this tug of war — to pick up Rosenbaum’s metaphor — had deﬁnitely been decided in favour of the ‘portraiture of both places and people’. Costa’s ﬁlm shows the lives of Vanda and the other inhabitants in between the noises and rubble of the demolition works. The ﬁlm can be seen as both a subtraction and an expansion. A subtraction, in that Costa works without a script and without ‘action’ in a conventional sense. He does not use a cameraman and 7 8 Excerpts from Costa’s notebook, mostly collages of texts and images, are to be found in the extras of the French DVD of Casa de Lava.
Cinema thus adds a frame to the visible world, presiding over the way apparatuses like advertising and the police frame the world. And because cinema is not the only way this happens — it also occurs in television, photography, posters, magazines and advertisements — the visible world has become almost entirely a frame, the frame that is everywhere but which we see nowhere. We see it without seeing it as a frame and which, because it is not seen as such, shapes our way of looking. In fact all the screens we watch also watch us and are frames formatting us.