” Cinema plus Psychoanalysis equals the Science of Ghosts” – Jacques Derrida
“At first I thought that ghosts would be forgotten in this new electronic age. But as things turn out, they began to use electronic gadgets for their own purpose. Now they often fly down telephone lines, jump on radio waves, and take you by surprise when you are listening to music. There are many recorded cases of ghosts appearing in electrical shops…”
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“A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint — and in Subrin’s words, “to investigate the mythos and residue of the late ’60s.” Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film.”Read More »
Jonas Mekas’ BIRTH OF A NATION (1997) continues the filmmaker’s investigation into the possibilities of film-as-diary to offer glimpses of key figures of experimental cinema, including Stan Brakhage, Tony Conrad, and Michael Snow, compiled from footage shot over four decades. As far back as the masterpieces WALDEN (1969) and LOST, LOST, LOST (1976), Mekas has been turning his roaming camera on those around him, eschewing conventional documentary in favour of a more impressionistic, subjective engagement with his friends and surroundings.Read More »
Quote:
I began El Valley Centro in November of 1998; I was driving through the Great Central Valley looking for places to film. I wasn’t going to start shooting for at least six months; I wanted to just look and listen – to get to know the Valley well before I would make images. But almost immediately I came across an oil well fire with flames high into the sky. I returned home for my Bolex and Nagra. Determined that landscape is a function of time, I let a full roll of 16mm film (100 feet) run through the camera. At that moment I knew I would make a portrait of The Great Central Valley using 35 two and a half minute shots.Read More »
Magazine Mouth 1983 – 7 min.
Depression Focus Please 1984 – 4 min.
Talking to Myself 1985 – 3 min.
Kafka Kamera 1985 – 3 min.
Subways 1976 – 13 min.
Going to Work 1981 – 7 min.
My Cat, My Garden, 9/11 2001 – 6 min.
Apologies 1986 – 17 min.
Locomotion 1981 – 7 min.Read More »
Quote:
New York City’s Monterey is a residence hotel; the residents we see are older, most live alone. The camera, usually stationery, begins with a look into the lobby. The film ends with a panorama from the hotel’s rooftop. There’s no soundtrack. The lobby is clean with granite floors. Men wear hats. People enter and exit an elevator. The camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close. The film provides the feeling of what it’s like to live there.Read More »
IMDB wrote:
The impossible relationship between a man and a woman, but also the destruction of aesthetics. The girl wants to seduce her beloved with incoherent stories that he does not care at all. Through this relationship, the film projects the idea according to which it is impossible to tell a story. The project does not pursue the coherence of a well-told story, rather it demands to observe what is shown and to deepen the different facets of the characters. Its purpose is to lay the foundations of a certain pop aesthetic in a Spanish way, in which the images can not refer to the world but to the publicity that the world sells to us.Read More »
A foggy portrait on snow clad mountains.Read More »
The concepts of synergetics within biological systems and effects of entropy on the organism of the socio, leading to the birth of Homo Insanicus.
The psychedelic surreal experiment, the last film from the biophysics cycle and the first film from the homo paradoxum cycle. The film is narrated by surreal sofisticated scientific-philosophical contemplations intermixed with a speech of Brezhnev and a speech of a schizophrenic patient.
“I have this feeling that in the world there is no politics or sociology as such, there is a field of psychiatry, and in our country – psychopathology.” – V. Kobrin.Read More »