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class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-12176\u0022 class=\u0022node node-artist article odd node-lang-es node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/carlbrown.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-12176-RtdJD-zYerU\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/carlbrown.jpg?itok=qQ9dRPqp\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003ECarl E. Brown\u003C\/strong\u003E (Toronto, 1959) es un cineasta, fot\u00f3grafo y escritor canadiense. Tras dos a\u00f1os en la Universidad de Toronto, donde estudi\u00f3 filosof\u00eda y psicolog\u00eda, decide pasar a estudiar cine, que completar\u00eda en 1982 en el Sheridan College. Su obra, casi una veintena de pel\u00edculas han sido proyectadas en numerosos festivales de Am\u00e9rica, Europa y Asia y formaron parte de la retrospectiva \u003Cem\u003EExperience chromatiques le cinema contemporain\u00a0celebrada en el Museo del Louvre en 1995\u003C\/em\u003E\u003Cstrong\u003E\u003Cem\u003E.\u003C\/em\u003E\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003ETo plasticize the films, Carl Brown reinvented the procedures and tools of cinema itself. By pulling (drawing), the gauging and the drying of the surface Brown begins. This chromatic material is the toner that he spreads over the film so as to leave a trace of arm movements, then works with the help of two principal procedures, the Sabattier effect, being the double development with inversion of optic values, and the plaiting, being a doubling of gelatin, caused by the difference in temperature between fixing solutions. With those techniques of pure chromatic mounting (setting) which through folds, fractures and the explosion registers the conversion work which is the development at the heart of the colour itself, Carl Brown exalts what he calls the \u0027depravity of toner.\u0027 ... CONDENSATION OF SENSATION as other Carl Brown films (RE:ENTRY, 1990; AIR CRIES, \u0027EMPTY WATER,\u0027 1995) respect a form of classic narrative, the one of the voyage: its exploratory progression leads from one identifiable type image (the negative for example) to an absolutely frantic nameless chromatic; the colours stacked one upon the other, declining by themselves, have no longer names, colours, connections, nor even describable motion. Carl Brown, bringing up in his own way the Eisenstein project, describes this enterprise as \u0027opening up the screen.\u0027 However, it is less a question of animating a surface by imaginatively opening it from the outside then covering and recovering it so that each colour coat, itself mixed and complex, falls on the previous one without being annulled or replaced: it superposes itself so dense and opaque that the colour seems to suffocate its own light in a convulsive way. By investing the unedited links to fertilize the possible relationships between coats and undercoats, between analogue planning and all over abstract, between unstringing accumulations. Through wafering and leafing, Carl Brown commutes the film\u0027s density into depth ...\u0027 del ensayo, \u0027Experience chromatiques le cinema contemporain\u0027 por Nicole Brenez, presentado en el Museo del Louvre, Par\u00eds, en Octubre de 1995\u003C\/p\u003E\n\u003Cp\u003E\u003Cem\u003E\u0027Carl Brown\u2019s business card does not say filmmaker or even experimental filmmaker. It reads \u0027visual alchemist.\u0027 Brown chemically treats the film\u2019s surface even as he is developing it\u2014a literal and physical deconstruction of the image\u2014and mixes his own toners to create brilliantly vibrant colours which are meticulously added to the image. This is a technique that Carl has mastered over 15 years. It may seem that such a labour-intensive process would dominate the film, becoming its focal point, but Carl is not manipulating the film\u2019s surface as a means unto itself. He is stripping away the representational properties of the image in order to rebuild it according to a more abstract truth already present within the image\u2014a truth based on either visceral qualities or emotional realities. From the moment the image is developed, through to the editing process, this is the principle upon which the film is constructed. Carl\u2019s technique does not obscure the image presented but reveals another layer one informing our view of the other. And where else but in the traditional documentary does the argument for the representational nature of the photographic image reside?\u0027\u003C\/em\u003E - (Barbara Goslawski)\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENacionalidad:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ECanad\u00e1\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__56WtQpbTz4oiIHDYE-goa_4HU4O7exM69WZlto7mvmY.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}