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…
just went up—well, Part One did, in which Matt Rowan asks me questions about my first book (Amazing Adult Fantasy), G.I. Joe, geek culture, Ota Benga, Ayn Rand, George Orwell, and bad writing habits; we also discuss Curtis White, Theodor Adorno, Viktor Shklovsky, and ninjas, among other things.
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.