The Dark Side of the Screen (Anthology Film Archives Series, by Sidney Peterson

By Sidney Peterson

An ideal hybrid of paintings heritage, movie conception, lit crit, and memoir. in addition to being the best and such a lot influencial avant garde filmmakers in the USA, Peterson had an encyclopedic wisdom of just about all paintings kinds. even though his booklet doesn't take many risks—no robust or provocative arguments are made, and it doesn't have one unifying message to impart—I don't get the sensation that Peterson is only identify losing. He reveals figures and works fallen-by-the-wayside, and his insightful observations and compelling language type encourage one to analyze each one paintings after analyzing the booklet.

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Extra info for The Dark Side of the Screen (Anthology Film Archives Series, Volume 4)

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So there we were, twelve people, thirteen counting myself, two ballads, a diving suit and three hamsters. You have to start somewhere. With, as it were, objects on a table. Commenting on the interpretation of dreams, Wittgenstein, in a conversation with some Cambridge students w h o took notes, is supposed to have said, *'Freud remarks on how, after the analysis of it, the dream appears so very logical. And of course it does. You could start with any of the objects on this table—which certainly are n o t p u t there through your dream activity— and you could find that they all could be connected in a pattern like t h a t ; and the patter n would be logical in the same w a y .

In Hollywood, in the 'fifties, I was automatically Sid, when n o t Sidley. But how, I wondered through most of my childhood, had I become a Sidney? Stan Brakhagc, in a 1973 lecture, remarks, " y o u could almost see him | m e ) as the little boy called 'Sidney'... 55 cursed as are all named S i d n e y . " I have no d o u b t of the truth of this statemen t although the precise n a t u r e of the curse escapes me. So h o w did I become a Sidney? I was named after my father, whose name was Siegfried before he changed it to Albert Sidney.

18-20) I suppose my view is that viewing awry can be an intellectual process as well as a visual surprise. I tend to take oblique views. Confronting confusion, I automatically eye it awry, and not always for the purpose of distinguishing form. There is a certain wry pleasure in adding to confusion. Anamorphosis works both ways. XV, Lyonses and Pharyaunce had the aduant garde. 1582-8 Hist. Jas. VI (1804) 40 The gentillmen of the surname of Hamiltoun were on the Queenes avantguard. 1630 HAYWARD K .

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