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DOES THIS MOVIE REALLY EXIST? THE “INVISIBLE CINEMA” OF CS LEIGH
By John A. Riley “I knew I must extend myself until the molecules parted and I was spliced into the image.” Don De Lillo, Americana,
2014.03.15
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ROCKING THE HORSE: A FEW NOTES ON THE EARLY WORK OF RENÉ CLAIR
By Claudia Siefen
René Clair and his films; that means funny animals in charge of vehicles or clothing, crowds as group characters in funeral processions, our beloved street singers and workers at a factory. Singing street crowds in general, but also people escaping sleep, getting away again from work and, very handy, some beautiful folded paper.
2014.03.14
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THE REDISCOVERY OF MEMORY AND EXPLORATION OF SPACE IN KEN JACOBS EXPERIMENTAL 3D FILMS
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.
2014.03.14
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MURDER PSALM BY STAN BRAKHAGE
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.
2014.03.14
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FILM DIVIDED APART BY NORIO IMAI
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.
2014.03.14
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WORKERS LEAVING THE FACTORY BY HARUN FAROCKI
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.
2014.03.13
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OUT OF YOUR RUINS YOU HAVE MADE CREATIONS: THE FILMS OF JOSEPH CORNELL
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.
2014.03.12
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THE BIG STICK/ AN OLD REEL BY SAUL LEVINE
Por Nicolás Carrasco
En The Big Stick, Saul Levine edita fragmentos de cortos de Chaplin centrados en la figura del policía. Al inicio, Levine muestra al personaje del vagabundo siendo acosado tanto por un policía como por un sujeto armado con un cuchillo. Levine repite estos planos en el montaje hasta dar la impresión que Charlot se encuentra atrapado en un laberinto, en una realidad absurda donde la policía es incapaz de protegerlo de quien lo acosa, convirtiéndose ella misma en otro acosador.
2014.03.12
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THE MESMERIST BY BILL MORRISON/ PSALM III: NIGHT OF THE MEEK BY PHIL SOLOMON
Por Nicolás Carrasco
A inicios de la década pasada, dos cineastas experimentales reflexionaron sobre la memoria del Holocausto a partir de material fílmico muy deteriorado, proveniente de películas anteriores al ascenso del fascismo en Alemania. Estas películas de género se adelantaron a los sentimientos de miedo, inseguridad y desesperación de esos años trágicos, reflejando el sentir de toda una generación de europeos. Estos cineastas fueron los norteamericanos Bill Morrison y Phil Solomon.
2014.03.11
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ON LATENT FEMININITY: TWO FILMS OF DENIS COTÉ
By Petra Popovic
While less mysterious than their predecessors, the last two productions were shocking nevertheless. Unlike the others, they no longer bear witness to a common thread in Côté’s body of work, a core concept arching through all his previous films.
2014.03.09