This entry was posted on Wednesday, April 29th, 2009 at 12:00 am and is filed under Comics, Sliver.
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I have loved every moment of this comic. It really takes things in a new direction and explores the idea of ‘serial art’ in a really interesting way. Feels like a ‘structural film’ done in comic form. Really awesome ideas and a really great work David.
Thanks Richard. I really like sliver, it always had a light ethereal feel to me like travelling through memories.
This idea of ‘serial art’ is really interesting, I will file it away and see what I can come up with.
When you say ‘structural film’ what do you mean?
Hopefully at some stage I will publish it in book form.
Yeah – I find ‘serial art’ fascinating. I think that there can be a distinction made between ‘serial art’ and ‘sequential art’. In ‘sequential art’ I think that each frame must develop logically from the last (in a sequence) while in ‘serial art’ the frames are simply part of a series (which does not need to be linear, or narrative).
Structural films were more interested in the ‘structure’ of the film rather than the narrative of a film. It was a ‘genre’ of experimental films which a lot of my work is influenced by. Often they are structured around a single object, a single effect (the zoom, the pan etc.) or a single shot (Andy Warhol’s Empire, for instance, which is an 8hr shot of the Empire State Building). It is a term coined by P. Adams Sitney who identified Tony Conrad (The Flicker), Michael Snow (Wavelength) and Hollis Frampton are key film-makers that approach the idea of film from this position. Sitney identified 4 key characteristics; 1) A fixed camera position, 2) Flicker effects, 3) Loop printing and 4) Rephotographing images off the screen.