Video 7 Mar

After Ghostcatching (2010), OpenEnded Group

Frontier Friday: Charting the dance of Bill T. Jones

In comparison to Ghostcatching, in order of photo: A, B, C, D, E, F.

Video 7 Mar

Ghostcatching (1999), OpenEnded Group

Frontier Friday: Charting the dance of Bill T. Jones

In order of photo: A, B, C, D, E, F, A&F, B&B, D&D

Video 3 Mar

Psychos (2014), Steve Soderbergh

Monday Musing: Soderbergh has officially joined the image-recycling program. 

Another conceptual exercise surrounding Psycho. Instead of making his own, Soderbergh sets up a tug of war between Hitchcock and Gus van Sant. It makes it astonishingly obvious how different the two movies are. Somehow it feels like Soderbergh did GVS a favor by doing something GVS might have wanted to achieve but didn’t because his movie required more work from a viewer than s/he would give.

I was doubtful and maybe even a little jaded when I saw this on the news. But at a first viewing, I did enjoy two things. One is the two murder scenes: the shower and the staircase. The clash of flesh and knife, color and black&white, body and spectre…the phantom of image is simply orgasmic. The other comes from the tension created by editing back and forth between the two. It makes it almost impossible to see the image of the moment as singular. The question “what does the other movie do here?” hovers over throughout the whole movie. Quite a curious feeling.    

Video 28 Feb 2 notes

Hand-Drawn Spaces (1998, 2009), OpenEnded Group 

Frontier Friday: Eventually, it is all about the body. 

Photo 26 Feb 1 note Sea Rhythms (1971), Jim Davis
Wednesday Wisdom
Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren’t all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life. - Rainer Maria Rilke (tran. Stephen Mitchell)
From Letter One, 1903, Letters To A Young Poet

Sea Rhythms (1971), Jim Davis

Wednesday Wisdom

Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren’t all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life. - Rainer Maria Rilke (tran. Stephen Mitchell)

From Letter One, 1903, Letters To A Young Poet

Video 24 Feb 3 notes

Inside Llewyn Davis (2013), Joel and Ethan Cohen 

Video 21 Feb 4 notes

An Optical Poem (1938), Oskar Fishinger

Frontier Friday

It is hard to imagine today, at one point in the history of cinema, big hollywood studios like MGM funded and released beautiful cinematic experiments like this. 

To fully appreciate the poetry of color, shape, and rhythm, the film is available here

Video 20 Feb 38 notes

Bruce Baillie is finally having his retrospective of seven films at Ann Arbor Film Festival this year. Félicitations! I know that the Anthology Film Archives in New York has been working on the restoration of his films with the general support from George Lucas among others. Six out of the seven are old works while Quick Billy hasn’t been released until recently. All of these works have been screened towards the end of 2013 at REDCAT in LA, but it is always more exciting when a film festival presents a program dedicated to an old master of experimental cinema. 

Video 19 Feb

René Allio, Claude Nedjar, and Michel Foucault on the set of Moi (1975)

Moi, Pierre Rivière ayant égorgé ma mère, ma sœur et mon frère (1976), René Allio

Wednesday Wisdom

"…faire apparaître le grain minuscule de l’histoire, ouvrir au quotidien l’accès du récit. Pour opérer ce changement, il faut d’une part faire entrer dans la narration des éléments, des personnages, des noms, des gestes, des dialogues, des objets qui d’ordinaire n’y ont pas place par défaut de dignité ou d’importance sociale; et il faut d’autre part que tous ces menus événements - malgré leur fréquence ou leur monotonie - apparaissent comme singuliers, curieux, extraordinaires, uniques ou presque dans la mémoire des hommes." - Michel Foucault 

"…making the minuscule texture of history come into being, opening the access of narrative to everyday life. To make this change happen, on one hand one must get into the narrative of the elements, the characters, the names, the movements, the dialogues, and the objects that normally don’t have a place of dignity or of social importance by default; and on the other hand all the minor events, despite their frequency or tedium, appear to be singular, curious, extraordinary, unique or hardly in the memory of men." 

Video 17 Feb 5 notes

Monday Musing - An obsession with objects. 

Doll furniture of The Cabinet of Jan Svankmajer Prague’s Alchemist of Film (1984) by Quay Brothers

Rudolf II as Vertumnus (1590-1591), Giuseppe Arcimboldo

The Winter (1563), Giuseppe Arcimboldo

Dimensions of Dialogue (1982), Jan Svankmajer

The Mascot (1933), Ladislav Starewicz


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