We’ll be opening up the Etsy store to international customers very soon (before the end of August?) - just a matter of doing some research so we can set shipping prices. I’ll post here when we do. Thanks for your interest!
"Suppose a character, in one of the stories you and I write, tried to conceive of his origin, and tried to foresee beyond what he knows of his destiny at any given point of the story. His enquiries, his speculations, would lead him to hypotheses (infinity, chance, indeterminacy, free will, curved space and time …) very similar to those at which thinkers arrive when speculating about the universe.
This is why the traffic between storytelling and metaphysics is continuous.
The notion that life, as lived, is a story being told is a recurring one. Rationalism rejected this notion by proposing that the laws of nature were ineluctably mechanical. Most recent scientific research tends to suggest that the natural working of the processes of the universe resemble those of a brain rather than a machine. To think of such a ‘brain’ as a narrator—although many scientists would protest that the thought was too anthropomorphic—has again become feasible. The metaphysics of storytelling has ceased to be a merely literary concern.
What separates us from the characters about whom we write is not knowledge, either objective or subjective, but their experience of time in the story we are telling. This separation allows us, the storytellers, the power of knowing the whole. Yet, equally, this separation renders us powerless: we cannot control our characters, after the narration has begun. We are obliged to follow them, and this following is through and across the time, which they are living and which we oversee.
The time, and therefore the story, belongs to them. Yet the meaning of the story, what makes it worthy of being told, is what we can see and what inspires us because we are beyond its time.
Those who read or listen to our stories see everything as through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless.
If we storytellers are Death’s Secretaries, we are so because, in our brief mortal lives, we are grinders of these lenses."
— John Berger, And Our Faces, My Heart, Brief as Photos
"In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry."
Yikes! Don’t know how I missed that. I must have just been thinking about Jack Lemon as I wrote that sentence. Fixed now. Thanks for the correction.
Okay! I’ve been meaning to see it. Probably will soon. If I write about it, I’ll probably just end up writing about whatever details strike me, as I usually do, but I’ll take these into consideration for sure. I haven’t really read much about the movie - had no clue a main character was queer! Annie and I have this idea to write a series of zines where we go through every single Wes Anderson film and write about how every single POC character is depicted (no matter how minor). Add that to my endless list of overambitious future projects!
"We are always trying to find the connection between two pieces of film (or rather, snippets of digital files!). We want to find the connecting line, and we want that connecting line to be clear to the person who eventually experiences the piece. We ask ourselves: in going from this scene to the next, is it perfectly clear what we are connecting? Is it a gesture, is it a situation, is it a composition? The challenge is to make this connection as clear as possible, so that it isn’t just a heterogeneous mess of things. If a certain scene doesn’t fit into this line of connections, it has to go – even if we love it. […] This is something we reflect upon constantly while working on an audiovisual essay: that every single moment in a film is heterogeneous and has many levels – there are always a million things going on. It’s easy to get lost in the richness of certain moments in a film, but if you start to line up these complex and full moments in an essay, you will start to lose the clearness of connection between details that you want to establish. If you want to make a connection between a camera movement in Welles and one Ophüls, you will have to choose precise moments which won’t get the viewer thinking about the motives of the protagonists."
We’ll be using this here Tumblr to give updates on our zine-ing life, as well as for sharing relevant stuff we’re interested in — other zines we love, used book nerdery, cool illustrations, whatever!
And be sure to check out our Etsy store. We’ve got one zine available there now and two more coming very very soon.
Follow the new STUDIUM/punctum Tumblr if you’re interested in getting updates on all my zine-related activities.
Also: a reminder for any NY readers to stop by our table at the Brooklyn Zine Fest this Saturday. The Some Notes on Film zine will be for sale for a tiny bit cheaper than the price listed on Etsy, and customers who mention the Some Notes on Film Tumblr will get a FREE HIGH FIVE!