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“MDMA is a one-shot experiment that begins with Lin and Boyle taking the titular drug and, in what appears to be an unedited two-hour shot, meander around Manhattan, getting lost on the subway and ending up giving each other a sarcastically ironic interview while on the ferris wheel inside Times Square’s Toys ‘R Us.”Read More »
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“Tao Lin and Megan Boyle follow 17-year-old fashion blogger Bebe Zeva around Las Vegas for a night and film it on a MacBook.”
“In the film, which took one night to film and 24 hours to edit, Tao Lin and Megan Boyle follow Zeva around her home city of Las Vegas. Zeva plays the part of compliant diva, welcoming them into her lavish condo then taking them through casinos, malls and Planet Hollywood as she’s filmed by Lin and Boyle with a MacBook while they ask her questions like, “How many Twitter followers does the toilet have?” “Would you rather weigh 500 pounds or not have two arms?” “Who has the best internet nose?” Sometimes you can’t hear what they’re saying. Sometimes there are jarring sounds as if the MacBook hit a wall accidentally.Read More »
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Berlin-born Hans Richter – Dadaist, painter, film theorist and filmmaker – was for four decades one of the most influential members of the cinematic avant-garde. Richter assembled some of the century’s liveliest artists as co-creators of Dreams That Money Can Buy, his most ambitious attempt to bring the work of the European avant-garde to a wider cinema audience. Among its admirers is film director David Lynch.Read More »
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A film mass, dedicated to nobility and excellence.
‘No chance for me to live, Mother, you might as well mourn.’ – Sitting Bull, Hukpapa Sioux Chief.
Applause for a lone figure dying on the street. INTROIT. A long lightly exposed section composed in the camera. KYRIE . A motorcyclist crossing the San Francisco bridge accompanied by the sound of a Gregorian chant, recorded at the Trappist monastery in Vina , California.The EPISTLE is in several sections. In this central part the film becomes gradually more outrageous, the material being either from television or the movies, photographed directly from the screen. Read More »
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An early film made for an Oakland school for mentally disturbed children.
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From the 1910s through the 1950s newsreels were a staple of American
Moviegoing experience. Released nationally to theaters once or twice a week and running about 10 min., newsreels highlighted the events of the day – politics,sports,
scandals, ceremonies – and generally included at least one human-interest story.
Sometimes local theaters made their own, thrilling audiences by profiling hometown
personalities. With Here I Am Bruce Baillie brings this inclusive approach
to the avant-garde.Read More »
“He who becomes slowly wise.”
SPOILER.
The Structure of Lyric:
Baillie’s to Parsifal
Alan Williams
It’s difficult to say exactly where or how To Parsifal is a lyric film and where or how a narrative work. For this reason, ordinary critical vocabularies (based on certain “types” of films) do not apply with much usefulness to Bruce Baillie’s abstractly assembled color images, nor to the nature and functions of his sound track. To get a sense of how this film works it will be necessary first to break it down, outline it, in order to see how the (implied) viewer puts it together.Read More »
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Between 1957 and his death in 1976, Marcel Broodthaers made approximately fifty films. The exact number is difficult to determine: Several no longer exist; some are multipart “programs” assembled from groups of short films (many appropriated from industrial or otherwise “authorless” sources); and others are subtle variations on previous works. A recent exhibition at pioneering curator and collector Thomas Solomon’s new gallery, Solo Projects, paired a 16-mm silent film, Un Voyage en Mer du Nord (A Voyage on the North Sea), 1973-74, with a thirty-eight-page, French-bound book that shares its title and ostensible subject matter: the pairing of a late-nineteenth-century amateur painting of an archetypal European ship and a twentieth-century photograph of a pleasure boat against a modern urban backdrop. The roughly four-minute film is projected on a retractable home-movie screen–a Broodthaers motif–and the book displayed on a simple wooden shelf, lit by a single spotlight.Read More »
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“A filmmaker and academic, Stephane Marti has pursued cinema as a visual art form, divorced from the codes of the dominant narrative cinema, since 1976. He is a passionate and militant advocate of Super-8, a filmmaking tool which he has used for 30 years.
His work has been shown in festivals and international presentations and has elicited numerous articles and interviews. His flamboyant, baroque and sensual style focuses principally on the Body and the Sacred.
Baroque shades of red and gold fill the frame and dominate the color palette. These pure colours are captured by a mobile, trembling camera, whose gaze is projected with desire towards the bodies of the actors. The plasticity of the masculine subject’s skin is the axis of its gaze.Read More »
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Images gathered by Bob Fleischner, sound-film composed by Ken Jacobs. “Jack says I made the film too heavy. It was his and Bob’s intention to create light monster-movie comedy. Two comedies, actually, two separate stories that were being shot simultaneously until they had a falling-out over who should pay for the raw stock destroyed in a fire started when Jack’s cat knocked over a candle; Jack claimed it was an act of God. In the winter of ’59 Bob showed me the footage. Having no idea of the original story plans I was able to view the material not as the fragments of a failure, of two failures, but as the makings of a new entirety. Bob gave over the footage to me and with it the freedom to develop it as I saw fit.Read More »