The name “Viktor Shklovsky” comes up a lot at this site (I’m guilty of mentioning it in perhaps half of my posts), and one might wonder why the man and his work matters. Below, I’ll try and lay out what Viktor Shklovsky has done for me, and what he might be able to do for you, too! Because Shklovsky might be the single most interesting and, above all else, useful critic I’ve ever encountered…
[Drumming our fingers on the tabletop, humming along to Debbie Gibson, we contemplated just walking out on our waitress, when Jeremy remembered a Payday he had in his pocket. Passing it back and forth, we resumed our conversation.]
Jeremy: All this work, and still no appetizers. So we might as well talk about Kenneth Branagh, as this feeling of weary emptiness reminds me so much of his films …
A D: I remember adoring his Dead Again. I saw it on VHS, not too long after it came out. I had to pause it halfway through, I got so excited. I was, I think, all of sixteen.
In my last post on this topic, I argued that cinema can be redefined as “the cinematic arts,” which would include not only movies and short films, but also music videos, commercials, TV programs, experimental film and video, installation art, video games, Flash animations, animated gifs, and even “nonelectrical” forms of moving images, such as flipbooks and camera obscuras. This redefinition raises a few questions:
- Why should we do this? What would this expansive reconsideration get us?
- Can it be done? Can the same critical apparatus that we use to describe and analyze feature films be successfully applied to, say, animated gifs? Or camera obscuras?
- What would the be the common currency of cinema?
After the jump, I’ll try answering each of these questions.