The most immediately apparent characteristic of James Benning’s film is surely its form: thirteen ten-minute static takes, which (save the leader between shots) comprise the entire visual track of the picture. Far from cursory, this detail accounts for the totality of Benning’s æsthetic. Everything that Benning says in 13 Lakes, he says using this formal language – along with a soundtrack recorded on-site, thought not necessarily concurrently with the image. Moreover, Benning, as has been noted, repeats the same basic framing in each of the thirteen segments, presenting the horizon-line in centre of the frame, dividing lake and sky into approximately equivalent fields. James Benning’s Art of Landscape: Ontological, Pedagogical, Sacrilegious, by Michael J. Anderson for Senses of Cinema (
via; see also:
13 Lakes Q&A at
LA Film Forum)
[more inside]
posted by filthy light thief
on Mar 6, 2012 -
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