James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the b阿巴斯真的做到了没有技巧的技巧就是最好的技巧,你敢信长达十多分钟有多次不同人物对话甚至人物内心多次发生波动的戏阿巴斯竟然只用两个机位来拍摄,甚至主人公内心达到一定高涨时连一个正面的镜头都没给,时而通过背景人物的出入进行剪辑,时而通过对话情节进行剪辑,其左拍镜头构图不追求工整,只是包含了除主人公之外所有所需内容,在看似不厌其烦的单一调度之中,却给人一种新颖满足的感觉,不仅朴实更具魅力ackground noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest
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