Jon Jost, impartial movie-maker. The early films
Jon Jost’s shorter film ‘Flower’ (1970) explores the connection between language and which means. A immediate parallel is drawn involving film language and verbal language. The film opens with a quotation, in the form of a printed textual content, from Mallarmé declaring that when he reads the term ‘flower’ he activities a way of beauty. But there is no flower really there, just the term, as well as the linked idea of a flower. Consequently, he concludes, the phrase ‘flower’ denotes a gorgeous strategy.
Jost follows this with lots of shots of flowers, and again the sequence goes on for some time, providing us sufficient time to think about what exactly is occurring. We start off by seeking the flower which matches our idea of a flower, and none of them do. Our notion of a flower would not exist in the actual entire world, only distinct particular person flowers, including the ones we’ve been looking at to the monitor, exist there. But when we simply cannot see our idea of a flower around the display, nor, rose bouquet delivery we realise, can we see any real bouquets, all we can see are projected patterns of light shade and colour.
The film ends using a quotation praising the beauty of ‘hues conceived from the thoughts’, and deploring the folly of Adult males who Imagine these kinds of magnificence could be represented by mere ‘grunts and squeaks’, (i.e. language).
Jost is demonstrating that movie by itself simply cannot present us with truth, or with meanings, film is really a mere language, styles of sunshine and shade, grunts and squeaks. It can be we who attribute intending to the photographs, and any actuality we might Feel we have been observing during the movie is merely an illusion. Jost continually reminds us of the reality, even from the capabilities, so as that we should see through the illusion to what’s being communicated from him to us about our true lives in the actual world.
Having founded that film is simply a language, it follows that almost everything we see on the display is set with the movie-maker’s intentions toward us, and towards his material. Jost has described film (In ‘Susannah’s Movie’, 1969) as ‘gentle, shade, and bias’, and his film ’13 Fragments and three Narratives from Everyday living’ (1968) is a fancy and interesting essay on this topic.