By Kevin Murphy
For a few of us, moviegoing is an occasional excitement. Kevin Murphy made it his obsession, and he did it for you.
Mr. Murphy, identified to legions of enthusiasts as Tom Servo at the mythical television sequence Mystery technological know-how Theater 3000, went to the films on a daily basis for a 12 months. That's every unmarried day, humans. For a whole fricken' year. and never merely did he undergo, he prevailed -- for this is often the hilarious, poignant, interesting magazine of his adventures: the 1st publication concerning the video clips from the audience's aspect of view.
Kevin went to the multiplex, yes. yet he didn't cease there. He came across the world's smallest advertisement movie show. one other one made thoroughly of ice. looked at flicks in a tin-roofed hut within the South Pacific. Tooled around the barren region from drive-in to drive-in in a cool convertible. Lived for every week completely on theater meals. Took six varied girls to a similar date motion picture. Dressed up as a nun for the Sing-Along Sound of Music in London. Sneaked into the Cannes and Sundance movie gala's. Smuggled a complete Thanksgiving dinner right into a movie show. And observed enormous quantities of movies, from the Arctic Circle to the Equator, from the chic to the unspeakable. Come alongside on a joyous international party of the cinema with a guy on a project -- to spend A 12 months on the Movies.
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Extra info for A Year at the Movies: One Man's Filmgoing Odyssey
This is a case of discovered manipulation, full of references and of metamusical and metatheatrical allusions in which the teaching method is the message, to Audiovisual Analysis—Part 1 17 paraphrase McLuhan. But within the context, the operation seems to me to be entirely legitimate. In fact, it would have been inconceivable to interpret Wagner on the figurative level without trying to use a system of color symbols. On the other hand, this extraordinary film opera is the apotheosis of the fiction (the film) of a fiction (the opera).
25 It is paradoxical, but the color relations in the video clip are the same as those present in Zeffirelli. PREANALYSIS PHASE 1: CUT SEQUENCES But let’s turn now to Cut Sequences. The total duration is 7′04″. 26 According to the criteria already established, three sequences can be extracted. Sequence 1—containing two scenes Sequence 2—containing one scene Sequence 3—containing two scenes The preanalysis is subdivided into three phases. Every scene will be examined according to the following aspects: 1.
One can speak, therefore, of a general concordance with some premonitions of light discord. I present a hypothesis expressed as the diagram that follows. The length of the horizontal baseline expresses the duration of the scene. The segment is divided in two parts. The time is indicated exactly in seconds (T for time line), from 00 to 50. The lower part (N—noises) has to do with the noises and their dynamics (according to crescendo marks not broken down into detail but in general). The upper part (M for music) sketches schematically the potential musical interventions, where ME stands for micro events (the asterisks) and P stands for pedal.
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