User:Emily/Thematic Project/Trimester 02/04

My intro to physical book

This book was produced using images and texts (subtitles) taken from the Roman Polanski's film, “The Tenant”. The images and texts are extracted at moments when characters say the word "know", and then the frames and texts are reassembled into the form of book. Some of the pages are designed to be shorter than the rest, which provides the opportunity for the reader to read across pages, and at different intervals.

“The Tenant” is a psychological horror film directed by Roman Polanski. The main character, Trelkovsky, is confronted by a mental conflict after he moves into the new apartment. The relationships among himself and the other neighbours become weird. He undergoes a transformation, and becomes the previous tenant. In the end, he dresses up again as a woman and throws himself out the apartment window in the manner of the previous tenant, Simone. He ends up bandaged in the same fashion as Simone, in the same hospital bed. But we see Simone's close friend Stella and Trelkovsky visiting himself in the hospital.

I was obsessed by the whole transposing from one person’s life onto another and the mutative relationships among him and other tenants that we see through out the story. These transformations triggered the production of my book. Sampling all incidents through out the story, I juxtaposed all the dialogues containing the word "know". Each sentence that was extracted from the script became my re-constructed storyline, and altered the perception of events . I want to present an external way of reading the film with all the existing images and texts.

In 1920 the Surrealist poet André Breton wrote, "suggestive power of those arbitrary juxtapositions of words." I've come to embrace his idea, though it might be retooled as: "the suggestive power of the arbitrary juxtapositions of ."

Digital Book

From Dadaist poet Tristan Tzara, to the game of Exquisite Corpse developed by Surrealists writers, then to experimental literature group Oulipo, later on to William S. Burroughs and Brion Gysin. They all trying to do make showcase the power and imagination of cut-ups

suggestive power of those arbitrary juxtapositions of words

"mentally interesting" but "emotionally dry"

seeing the know in different context - orginising principle overall structure text and image create, orgnise in a sequence keep the combinations as the same in the film, because you read in different pace

the relation, database,

why choose this film, in relation to cimema, how film works (the time machine) sharpen and clarify

why do you choose the film how do you reorginise the film what the elements you use for them, subtitle(the term) core of the consturcturen, the character is forced to become sombody else deconstructure of the film - the structure of the film has other potential

in digital age, people pretend to read fragments rather than whole story.