62. What Do We Owe The Past When We Build With Its Pieces?
One of us has been watching a YouTube channel of video essays about art, a voice reading over striking old footage, and sent it over. The other recognized the footage as Jonas Mekas's, taken from one of his documentaries with a fair-use note and no credit. We don't name the channel. What bothers us is the gap between a channel arguing that art should stand apart from commerce and a method that looks like good branding. For contrast there's Paul Thomas Anderson's The Master. Seeing it on 35mm, one of us realized that Philip Seymour Hoffman's cadence sounds like Alan Watts, who held gatherings on an old ferryboat much like the one the film is set on. We call that reconstitution. Pasting in someone else's footage is appropriation. Then one of us plays devil's advocate. When we started writing screenplays, we both leaned on a song laid over a weak scene to do the feeling for us, so maybe this is someone young whose taste is ahead of their skill. The other wonders if his own irritation is what James Carse describes in Finite and Infinite Games, turning someone into an enemy for taking away something he'd come to enjoy. We end by asking listeners where they'd draw the line on giving credit. Mentioned in this episode: Jonas Mekas, the Prelinger Archives, Paul Thomas Anderson's The Master, Alan Watts, Philip Seymour Hoffman, "Weird Al" Yankovic. -Ai Support the show If you enjoyed this episode, please consider giving us a rating and/or a review. We appreciate and try to read all of them. Thanks for listening, and we'll see you in the next episode. Ask Us a Question: https://studiosessionspod.com/#ask Website: https://studiosessionspod.com
- Transcript
- Chapters