Michael Robinson

Michael Robinson

Críticas

ROTTERDAM 2022: CORTOMETRAJES DE LA COMPETICIÓN AMMODO TIGER (PARTE 1)

Por José Sarmiento Hinojosa

De lejos, mi favorito de este programa es Glass Life (2021), un catálogo impresionante de imágenes de collage en vivo basadas en conceptos explorados por Shoshana Zuboff en su The Age of Surveillance Capitalism. Este destacado catálogo de Sara Cwynar está dispuesto en una mesa de trabajo en movimiento infinito, que toma prestado cut-ups, grabaciones en vivo, gifs animados, emojis, autorretratos, modelado 3D y varias otras fuentes.

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Film Festival Reports

ROTTERDAM 2022: AMMODO TIGER SHORT COMPETITION PT. 1

By José Sarmiento Hinojosa

The Ammodo Tiger Competition, a run of mid-length and short film program at IFFR, has focused its view in a particular experience of exploring new narratives in smaller formats. The experimental field in Rotterdam has been well represented with past winners such as Fox Maxy’s Maat Means Land (2020), Daïchi Saito’s Engram of Returning (2015), Observando el Cielo by Jeanne Liotta (2007)  or Dorian Jespers’ Sun Dog (2019), among many others. While we explore this first part of Ammodo’s competition, we began to find certain hidden surprises and other returning favorites.

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Film Festival Reports

CROSSROADS 2020: UNKNOWN SUBJECTS

By Mónica Delgado

In these days of health crisis, Crossroads film festival, organized by San Francisco Cinematheque, offers nine programs for free online viewing, grouped according to different thematic criteria or according to certain expressive motives, although many of them were raised to confront or resignify some common topics in this type of curatorship. This edition, led by filmmaker Steve Polta, promotes in its programs, beyond the viewings themselves, strategies of relation, correspondences or even absences.

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Críticas

TIFF 2017: WAVELENGTHS. DISLOCATION BLUES DE SKY HOPINKA Y ONWARD LOSSLESS FOLLOWS DE MICHAEL ROBINSON

Por Nicolás Carrasco

En Onward Losless Follows, bajo la influencia de ese genio llamado Craig Baldwin (y, remontándonos más de medio siglo, de Joseph Cornell), Robinson re-edita y le cambia el sentido a imágenes provenientes de esas películas que los norteamericanos llaman “scare films”: aquellas hechas para proyectarse en colegios y advertir a los alumnos contra los peligros del aborto, las drogas, las enfermedades de transmisión sexual, el satanismo, el comunismo, entre otros “males” enemigos del sueño americano.

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Main Articles

TSCHERKASSKY, ROBINSON, OREILLY: THREE PERSPECTIVES ON MEDIUM AND ITS MEANINGS

By Alejandro Bachmann and Daniel Fitzpatrick

Three domestic scenes tie together three seemingly diverse films. In the first, from Peter Tscherkassky’s 1999 found-footage masterpiece Outer Space, a woman (Barbara Hershey) walks alone, we see her entering a building, presumably her home. In the second, Michael Robinson’s Light is Waiting (2007), two sisters argue (in footage pulled from an episode of the US sitcom Full House), they are discussing what to watch, the evening news or the Top 40 countdown. In both instances, both scenes, these characters will encounter and be impacted upon by external forces, the security of their diegetic worlds invaded by non-diegetic elements usually kept under wraps. In both of these cases, we witness a striking and disturbing folding in of inner and outer space and, in each case, we are brought face to face with the nature of a medium while simultaneously experiencing its undoing, its destructive collapse.

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