10/40/70

In an era of rapid transformation from analog to digital, how can we write about cinema in ways that are as fresh, surprising, and challenging as the best films are? In 10/40/70 Nicholas Rombes proposes one bold possibility: pause a film at the 10, 40, and 70-minute mark and write about the frames a [...]
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In an era of rapid transformation from analog to digital, how can we write about cinema in ways that are as fresh, surprising, and challenging as the best films are? In 10/40/70 Nicholas Rombes proposes one bold possibility: pause a film at the 10, 40, and 70-minute mark and write about the frames at hand, no matter what they are. This method of constraint�by eliminating choice and foreclosing on authorial intention�allows the film itself to dictate the terms of its analysis freed from the tyranny of pre-determined interpretation. Inspired by Roland Barthes's notion of the -third meaning- and its focus on the film frame as an image that is neither a photograph nor a moving image, Rombes assumes the role of image detective, searching the frames for clues not only about the films themselves�drawn from a wide range of genres and time periods�but the very conditions of their existence in the digital age.