Frans Zwartjes passed away on November 18, 2017. He was ninety years old.
Best known for his experimental shorts produced in the 1960s and 70s, Zwartjes was goth before there was such a thing (which the culture has since determinedly undermined). He was the first artist to unlock the potential of the selfie (which the culture has since determinedly undermined), and he was the precursor to the Fassbindian approach to "family" filmmaking (which the culture has since determinedly avoided). Susan Sontag called Zwartjes "the most important experimental filmmaker of his generation", and he has been either cited or ripped off whole-sale by a generation of artists and filmmakers since.
Queer Moving Image Review is looking for articles on the topic of queerness (lgbtq+) and moving image. The articles can be academic or opinion, no specific format required, but if there are sources being referenced there should be a works cited list to accompany the article. The length should be roughly a page or more.
Programa doble dedicado a las películas de la artista y cineasta alemana Deborah Phillips, que mostrará sus trabajos realizados en 16mm y 35mm relacionados con el espacio. Podremos ver dos de sus últimos filmes, WHERE IS GREENPOINT? y NACH OSTEN SCHAUEN, de 2017, así como un panorama retrospectivo dedicado a los lugares y los ornamentos, destacando especialmente MOSAIC, una película de 45' realizada en 35mm en diferentes partes del mundo, como Samarcanda, Bujara, Fez, Casablanca, Andalucía, Isfahán, El Cairo o Estambul.
De Jueves, Diciembre 14, 2017 (Todo el día) hasta Viernes, Diciembre 15, 2017 (Todo el día)
Dore O.’s films seem to claim a certain uniqueness and independence from the dominant, yet diverse and irreducible currents of German experimental cinema. As the critic Dietrich Kuhlbrodt declared already in 1988: »Dore O. has become classic, and suddenly it turns out that her work has passed the various currents of time unharmed: the time of the cooperative union, the women's film, the structuralists and grammarians, the teachers of new ways of seeing ...
It has been theorised that the contemporary "economy of presence" has made fluid the boundaries between the professional, private and social spheres of human activity. Institutional apparatus rely on our incessant pressure to perform, where immaterial labour, personal commitment and the search for pleasure are barely distinguishable and in constant operation. In this dystopian pleasure-based economy, the conventional arbiters of value convert easily into immaterial alternatives such as emotions and experiences. Love and authenticity are the currencies of our time, exchanged alternatively through restless online posting, reproductive labour and the good vibes produced by corporate mindfulness meditation sessions.