By José Sarmiento
When Ken Jacobs started with his anagylphs and three dimensional experiments (a third dimension effect that wasn’t at all similar to the technological 3D of multiplex cinemas) as early as 1997, something truly unique was being born.
By Lauren Bliss
Murder Psalm is the closest film has come to figuring psychosis. That is not to say that there is anything wrong or sick with Murder Psalm. As Michel Foucault pointed out in Madness and Civilisation, it was the psychiatrists and not the psychotics who fostered the rationalisation and objectification of psychosis as a diagnosis for purposes of power and control. Thus, and in extension of this, I would suggest that the psychosis of Murder Psalm is neither irrational nor unreasonable.
Por Nicolás Carrasco
¿Cómo se cuenta la historia de una nación como lo fue la Unión Soviética? Con The Beginning (1967), Artavazd Peleshyan se toma el riego de contar en diez minutos los cincuenta años transcurridos desde la Revolución de Octubre, empleando una combinación de fotografías y material de archivo, manipulando sus velocidades, repitiéndolas, y sincronizándolas con música (a la manera de los pioneros soviéticos).
Por Ricardo Adalia Martin
¿Por qué en dos películas españolas aparentemente tan diferentes como El futuro (Luís López Carrasco, 2013) y Arraianos (Eloy Enciso, 2012), aparecen una serie de fotografías familiares hacia la mitad de su metraje? ¿Por qué después de que estas imágenes (que no son otra cosa que material encontrado) irrumpan en la ficción, se produce un cambio de tono en ambas?
By Julian Ross
For Bundan sareta firumu (Film Divided Apart, 1972), Imai’s take on found footage was distinctly material with an emphasis placed on film as object. He further spliced a selection of the films into individual frames that were projected in rotation as slides. Not only the photographed image but also the film material itself became part of the projected image in the slideshow display.
By Lauren Bliss
Farocki’s technical genius is in his ability to combine the specificity of the cinematic apparatus, the mechanically produced representation of the body, with the modern regimentation of the body to effect an imaging of the process of subjectification. As an invocation to the production line of the factory, with its repetition, regulation, and homogenization, the use of different films showing the same thing figures how the body is shaped, condensed, and squeezed to fit to the mechanical mould.
Por Pablo Gamba
La colaboración de Juan Rulfo, con un poema que aceptó escribir para el filme, con la condición de que lo leyera el poeta Jaime Sabines, es la primera razón por la que en el cine mexicano sobresale un mediometraje como La fórmula secreta de Rubén Gámez (1965). Gámez fue un fotógrafo de publicidad que se había destacado antes con el corto Magueyes (1962), y que no estrenó su primer y único largometraje sino en 1992: Tequila. Murió en 2002.
By Sarah Nichols
In his poem for Joseph Cornell, “Objects and Apparitions,” Octavio Paz writes “Minimal, incoherent fragments:/the opposite of History, creator of ruins,/out of your ruins you have made creations” (1). For me, Cornell is a visual poet; an obsessive hunter-gatherer of images. His shadow boxes, filled as they are with “marbles, metal rings, and other frugally poetic objects” (2), create their own lives, as the best poems do.
By Ranjana Raghunathan
Amrit Gangar is a Mumbai-based independent writer, film theorist, curator and historian. He has worked in the field of cinema in various capacities for over three decades. He has written widely on Indian cinema, and co-founded the Mumbai-based film society Screen Unit, which he ran for over twenty years. During those years, he curated a number of programmes and published books.
By David Phelps
A symptomatic story of many others internationally at the time, and yet taking to the streets in the most practical way—arming the populace with cameras, audio recorders, and basic editing proficiency—seems a particularly Ken Jacobs-like idea of home movie activism.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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