The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.
Cinema’s onscreen worlds have always borne an indexical bond to the real, thanks to film’s ability to register traces of physical reality and preserve them as enduring images. What happens when computer-generated video game images—images possessing no such indexical bond—usurp film as the predominant medium of visual worldmaking? How does one’s relation to onscreen heroes shift when we no longer identify with real bodies, but with affectless avatars scarcely possessing a face? Continue reading
Ken Jacobs’ most recent stroboscopic work transforms a typical New York street scaffolding scene into a mesmeric, Christo-esque merry-go-round.
In his most recent stroboscopic work, Canopy, Ken Jacobs sets a typical New York street scaffolding scene into mesmeric, gravity-defying motion. An elegant, immersive miniature with a strange faux stereoscopic effect, it takes off like a Christo-wrapped gravitron. Continue reading
Director Trinh T. Minh-ha’s first film is an ethnographic portrait of rural Senegalese women, but its provocative editing and self-conscious narration question the very activities of ethnography and documentary filmmaking; Minh-ha inverts and critiques authoritative Western representations of the “other.'” ~ Sarah Welsh, All Movie Guide
INTERVIEW WITH TRINH MINH-HA
Interviewer Interviewed: A Discussion with Trinh T. Mihn-ha
by Tina Spangler
BORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines “identity and culture through the struggle of Vietnamese women” has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University. Continue reading
A very personal journey, almost like a diary, with hand held camera Kowalski travels along the oldest highway in Polan, built by Hitler. While travelling along the highway Kowalski meets the people that now ply their trade their. The
the director uses his camera to cut a swath through Hitler’s legacy from a new perspective. Continue reading
“It started when I simply wrote a narration that interested me and challenged myself to fit it to a film, using existing objects in nature, without animation techniques of any kind. I did the photography myself for very little money….It represents an almost abstract attempt to illustrate philosophical thoughts and ideas with strictly photographed—not manufactured—images. What, it asks, is truth, and what is illusion? It draws its examples from obvious things like the movies’ illusory ‘motion,’ and the way railroad tracks seem to converge to a point on the horizon.
King Vidor” Continue reading
What a perfect film…..short and simple, Ono takes a camera and a boom mike onto a hot air balloon, kicks the rope, and starts the camera and lets us watch as it goes above the clouds for a 17 minute shot. Key things to notice: A roll of 16mm film films only 14 minutes yet the film runs for 17, meaning somewhere in the clouds Ono had another camera loaded and started when the first one ran out, yet somehow the splice is not noticeable and there weren’t any computers at the time to fix this sort of thing…..all i can say is optical printing tricks at its best. The last shot, as the balloon rises above the clouds, the wind silences, and the sun becomes visible, is alone worth checking out this timeless classic of experimental film. Continue reading
“Light as the symbol of the ineffable. The ‘plot’ of this subjective recreation of a dream seems to concern a mysterious journey; the spectator, however, is visually directed toward forms and substances rather than to the protagonists by a filmmaker who is a master of visionary cinema.” – Amos Vogel, Film as a Subversive Art
“Richard Myers has, thru his films, given us the ONLY consistently creative variable to dream-thinking in our time. All else, in film, slides toward surrealism and/or props itself with misplaced Freudian symbols, at best, or else gets lost in the Jung-le, at the verses. Myers’ work is rooted in what he doesn’t know about, just exactly what he knows – his own home grounds mid-America, and like D.W. Griffith he takes the great risk of being native to his art, attending it on its home-grown grounds/his-UNowned-dreams.” – Stan Brakhage Continue reading