The Potency of Film Editing: Rose Hobart Stop Return

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Notes

1 A welcome challenge to this interpretation of editing is found in Nicolas Bourriard’s Postproduction (New York: Lukas and Sternberg, 2002), which documents the work of artists operating in the realm of postproduction.

2 Shub worked alongside Tatiana Levinton, consolidating the presence of women in this type of production.

3 Jay Leyda, Film Begets Film (London: George Allen & Unwin, 1964).

4 This line of argument draws heavily on Michael Pigott’s introduction to Cornell’s work in Joseph Cornell versus Cinema (London: Bloomsbury, 2013), pp. 1–8.

5 The current version that prevails online is set to a recording of Nestor Amaral’s Porto Alegre and Belem Bayonne, a record Cornell purportedly bought from a thrift shop but which could not have accompanied the first screenings in 1936 as the record’s date is 1957. Michael Pigott suggests that Cornell is likely to have selected this music for the later screenings organized by Jonas Mekas in 1963. See Pigott, Joseph Cornell versus Cinema, p. 24.

6 These were not newsreels but vignettes from early cinema that Cornell worked on to make a collage effect or left untouched.

7 See Museum of Modern Art’s (MOMA) press release issued in 1936 for the exhibition contextualizing Dada and Surrealism. Museum of Modern Art, ‘Press Archives’, MoMA.org <http://www.moma.org/pdfs/docs/press_archives/360/releases/MOMA_1936_0056_1936-11-30_113036-38.pdf?2010> [accessed 13 March 2014].

8 Julian Levy, Memoir of an Art Gallery [1922] (New York: G. P. Putman’s Sons, 2003), p. 231. See also Kirsten Hoving’s account in Joseph Cornell and Astronomy: A Case for the Stars (Princeton: Princeton University Press, 2009), p. 58.

9 Art historian Jodi Hauptman suggests that the eclipse is a trope repeated by Cornell in the viewing context, connecting the eclipse with the apparatus of cinema, when he places a piece of dark glass in front of the projector. See Jodi Hauptman, Joseph Cornell: Stargazing in the Cinema (New Haven: Yale University Press, 1999), pp. 85–115.

10 Hoving, Joseph Cornell and Astronomy, p. 60.

11 Giorgio Agamben, ‘Difference and Repetition: On Guy Debord’s Films’, in Guy Debord and the Situationist International: Texts and Documents, ed. by T. McDonough (Cambridge, MA: MIT Press, 2002), pp. 313–19. The essay is the transcription of a lecture delivered in 1995 on the occasion of the ‘Sixth International Video Week’, Centre-Saint-Gervais, Geneva.

12 Ibid.

13 In addition to Debord, his Lettriste comrade Isidore Isou pushed the disjunctive facets of film in a similar way to Cornell, separating images from soundtrack in his 1951 film, Traité de bave et d’éternité, in a bid to create ‘discrepancy cinema’.

14 Giorgio Agamben, ‘Notes on Gesture’, in Infancy and History: Essays on the Destruction of Experience, trans. by Liz Heron (London: Verso, 1993), p. 138.

15 Benjamin Noys, ‘Gestural Cinema? Giorgio Agamben on Film’, Film-Philosophy 8.22 (2004) <http://www.film-philosophy.com/vol8-2004/n22noys> [accessed 13 March 2014].

16 Alex Murray, ‘Beyond Spectacle and the Image: The Poetics of Guy Debord and Agamben’, in The Work of Giorgio Agamben: Law, Literature, Life, ed. by Justin Clemens, Nicholas Heron, and Alex Murray (Edinburgh: Edinburgh University Press, 2008), p. 170.

17 Agamben, ‘Difference and Repetition’, p. 315.

18 Ibid., p. 313.

19 Ibid., p. 316.

20 Ibid.