Michael Snow : Wavelength /
In this illustrated study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. At the same time, she points out, it is also austere: the loft space where the action unfolds could be the last...
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| Format: | Book |
| Language: | English |
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London : Cambridge, Mass. :
Afterall Books ; Distributed by the MIT Press,
2009.
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| Series: | One work.
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| Subjects: |
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| 050 | 4 | |a PN1997.W38 |b L44 2009 | |
| 100 | 1 | |a Legge, Elizabeth M. | |
| 245 | 1 | 0 | |a Michael Snow : |b Wavelength / |c Elizabeth Legge. |
| 260 | |a London : |b Afterall Books ; |a Cambridge, Mass. : |b Distributed by the MIT Press, |c 2009. | ||
| 300 | |a 93 p. : |b ill. (some col.) ; |c 21 cm. | ||
| 490 | 1 | |a One work series | |
| 520 | 8 | |a In this illustrated study, Elizabeth Legge describes Wavelength as a film of virtuosically managed tensions, sensuous beauty, subtle light and color, and recession into perspectival depth. At the same time, she points out, it is also austere: the loft space where the action unfolds could be the last clerical outpost of a defunct business. The zoom is punctuated by what Snow laconically called "4 human events": a woman directs two men who carry in a bookcase and place it against the left wall of the room; two women come in and listen to the Beatles' "Strawberry Fields" on the radio; a man briefly appears after protracted crashing and glass-breaking noises, wheels around, and drops dead; a young woman comes into the room and makes a frightened telephone call reporting the dead man ("And he doesn't look drunk, he looks dead."). | |
| 504 | |a Includes bibliographical references. | ||
| 630 | 0 | 0 | |a Wavelength (Motion picture) |
| 630 | 0 | 7 | |a Wavelength <Film> |2 swd |
| 600 | 1 | 0 | |a Snow, Michael, |d 1929- |x Criticism and interpretation. |
| 650 | 0 | 7 | |a Dreharbeit. |2 swd |
| 830 | 0 | |a One work. | |
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