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Scottish-born Canadian animator Norman McLaren revolutionized cinema when he began to scratch images directly onto the surface of film emulsion. This extraordinary violation of the very material of film would, like Bunuel's bravura image, suggest a new set of cinematic possibilities and influence generations of animators around the world.
These areas represent temperatures as high as 2 million to 3 million kelvins, their sharpness limited only by the clumping of the grains in the film emulsion. A medium-sized solar flare (top arrow) emerging from such a region is probably as hot as 10 million kelvins.
While some cinematographers are loathe to give up the option of film emulsion for certain stories, many others agree that the larger digital formats deliver images that are pleasing and incredibly detailed without the plastic or crispy feel of early digital cameras.
Thus the shots, which stayed up close throughout, reveal not the grain of film emulsion but a halftone screen, evoking Richard Prince's rephotography or Jean-Luc Godard and Jean-Pierre Gorin's static shots of newspapers, magazines, and publicity stills in Letter to Jane (1972).
My shots would need to last longer (seconds to minutes), and no dog needed to fetch my quarry, as photons struck the film emulsion for processing later at our local film store.