Noticias generales

  • Owen Land (1944-2011)

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    Owen LandSad announcement sent out by Office Baroque Gallery.

    Dear Friends,

    It is with great sadness that we announce the passing of American filmmaker and artist Owen Land. Owen Land was born in New Haven, Connecticut in 1944 under the name George Landow and was found dead in his apartment in Los Angeles on 8 June, 2011.

    Land debuted as an experimental filmmaker in the 1960's with a critique of structural film. When Land was barely twenty years old, he produced some early masterpieces like Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc. (1965-66), which contains exactly what the title promises. A Kodak test film used to adjust colour balance serves as the basic material. Land recomposes it and extends it into a four-minute loop, the result, in which P. Adams Sitney saw “the essence of minimal cinema”, no less – “a found object extended to a simple structure”.

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  • Experimental Conversations #7

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    The Issue #7 of Experimental Conversations, the online journal of experimental and art film is now online.

    Articles
    - Editorial: Thin Lines
    - The Art of Time: Expressive Freedoms and Talking Heads by Tony McKibbin
    - Wishful Thinking by Claire Healy
    - One Time Magic: The Film Adventures of Ernst Moerman and Henri d’Ursel by Santiago Rubín de Celis
    - Daniel Cockburn's You Are Here by Rosemary Heather
    - The Disparate and the Boiling Mad: The Films of Martin Radich by Laurence Boyce
    - The Thin Line Between Documentary and Fiction Part One by David Brancaleone
    - Egyptian Cinema Before and After the Revolution: A Conversation with Mohamed Siam by Lilliana Navarra

    Reviews
    - Experimental Film Club: Julius Ziz & James Benning
    - 'Pure Cinema' @ 22nd Cork French Film Festival
    - 200 Motels: The Widescreen Erupts With Absurdities
    - Atom Town: Life After Technology

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  • MRes Art: Moving Image

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    Threshold (Malcolm Le Grice, 1972)Central Saint Martins College y LUX colaboran en este master que comienza el próximo mes de octubre, muy posiblemente el único en su ámbito, al tratar el ámbito téorico de la imagen en movimiento en lugar de su práctica. Durante las sesenta semanas de su duración (dos cursos académicos), el master se centrará en "(el) entendimiento de la imagen en movimiento como un campo de estudio discursivo y en evolución... En lugar de seguir trayectorias históricas preestablecidas, el curso presenta la serie integrada de proyecciones, seminarios y lecturas textuales de obras clave que abordan un amplio arco de posiciones teóricas y contextos históricos".

  • Courtisane 2011: obras ganadoras

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    Courtisane festival logoLa décima edición del  Courtisane Film Festival celebrado en Gante, Bélgica, finalizó el pasado domingo con la ceremonia de entrega de premios. El jurado, compuesto por Marina Kozul (Croacia, organizadora y comisaria), Adam Pugh (Reino Unido, comsiario y escritor) y Vincent Meessen (Bélgica, artista) eligió entre las diez obras de la competición belga y 23 de la sección internacional.

    - Mejor Película belga: Sarah Vanagt por The Corridor (2010).

    - Mejor película internacional: Miranda Pennell por Why Colonel Bunny Was Killed (2010).

  • Canyon Cinema: Important Message to the Film Community

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    Canyon CinemaTo the Film Community:

    This is a very serious letter.  It was emailed to our filmmaker members and we would like to share this with the larger community.  It concerns the survival of Canyon Cinema. As most of you probably know, film rentals over the past few years have been steadily declining. This is a result of the proliferation of digital media. Many of Canyon’s major filmmakers who have brought substantial income to the organization have now made their work available in digital formats. Many of our renters, especially in universities, no longer have access to adequate film projection. Often after the purchase of a DVD, instructors of cinema studies continue to use the digital media and forsake the renting of the original 16mm prints. This is partly due to their own dwindling rental budgets and the lack of well functioning projectors.

     

    Read the full letter at Canyon Cinema's website.

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  • Petition in support of L'Abominable

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    Why it is important to help « L’Abominable » as it is in danger of being evicted.

    The industry of cinema, as we all know and increasingly experience, is « going digital. » After years of hype, digital projection of films in commercial cinemas in France and in Europe is spreading dramatically. Via a ricochet effect, the technical industries are feeling the sting of reduced orders for film prints as well as fewer films being shot on celluloid. Throughout the sector, restructuring and layoffs are rampant.

    Yet at the same time, the interest of many contemporary artists express for analog film is symptomatic. From being a medium that was extensively used by an industry, analog film is becoming a medium specifically and consciously chosen by a number of filmmakers and artists for specific kinds of artistic expression. Could this be a temporary flare up of interest, colored by nostalgia? This is doubtful, considering the young age of some of these artists and the interest shown by artistic institutions in these new creations. Rather, it has to do with a shift, comparable to the one experienced by engraving at the end of the 19th century: a shift from the industrial scale to the more limited and precise activity of artistic creation.

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  • FLEX 2011 - Award winners

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    FLEX logo

    FLEX, the Florida Film/Video Festival, proudly announces the winners of the 2011 competitive festival, as selected by our jurors Mark Toscano (Curator, Filmmaker, and Preservationist, The Academy of Motion Picture Arts and Sciences Film Archive) and Vanessa Renwick (Filmmaker and Founder, Oregon Department of Kick Ass).

    Category: Video longer than 10 minutes
    - 1st Prize: The Voyagers by Penny Lane
    - Runner-up: Compressive/Percussive by Scott Stark
    - Runner-up: Utopia, Part 3 by Sam Green

    Category: Videos longer than 10 minutes
    - 1st Prize: Collide-O-Scope by Naren Wilks
    - Runner-up: White House bu Georg Koszulinski
    - Runner-up: Beaver Skull Magick by Steve Reinke

    Category: Films shorter than 10 minutes
    - 1st Prize: Horizontal Boundaries by Pat O'Neill
    - Runner-up: Make Them Jump by Kelly Spivey
    - Runner-up: Trees of Syntax, Leaves of Axis by Daichi Saito

    Category: Films shorter than 10 minutes
    - 1st Prize: Triumph of the Wild by Martha Colburn
    - Runner-up: Tokyo-Ebisu by Tomonari Nishikawa
    - Runner-up: Iron-Wood by Richard Tuohy

    Kodak Film Stock Prizes
    - Day/Night (Devil's Millhopper) by Andres E. Arocha
    - TUSSLEMUSCLE by Steve Cossman.

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  • 2011 $100 Film Festival Award Winners

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    These are the award winners of the $100 Film Festival 2011 edition:

    - Best of Alberta: Alexander Sakarev & Krasimira Sakareva for Reminiscences
    - Best 16mm Film: Ben Rivers & Paul Harnden for May Tomorrow Shine the Brightest of All Your Many Days As It Will Be Your Last
    - Best Super 8 Film: Paul Clipson for Chorus
    - Jury's Choice: Magnus Irvin for  Spiral In, Spiral Out
    - Audience Favourite: Cassidy Bankson & Greg Jackson for Christmas Compunction

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  • Or-bits: Acceleration

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    or-bits.com is pleased to present Acceleration, its new and fourth online programme.           

    Featuring works by:
    Benedict Drew, Maarten Vanden Eynde, Rosa Menkman, Ayo & Oni Oshodi, Steve Ounanian, Maria Domenica Rapicavoli, Damien Roach and Amanda Wasielewski.

    The programme will be accompanied by an ongoing series of blog contributions by: Steven Ball (artist and writer), Mark Fisher (writer), Morgan Quaintance  (curator, musician and writer), Louis Savy (director of SCI-FI-LONDON Festival).

    or-bits.com is an ongoing curatorial project, a platform displaying contemporary arts and a trigger for the production of new works. or-bits.com is devoted to exploring ways we perceive things, promoting practices and dialogues across and beyond media, and to thinking over and working with the empty web page.

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  • INCITE! #2 - Counter-Archive

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    Incite! logoThe second issue of the 'Journal of Experimental Media & Radical Aesthetics' Incite! is now available in a limited edition of 300 copies + DVD.

    Contents

    Brett Kashmere - Introduction: Cache Rules Everything Around Me
    Ben Russell - CINEMA IS NOT THE WORLD
    Julie Perini - Relational Filmmaking: A Manifesto
    Tasman Richardson - JAWA Manifesto
    Cat Tyc - Interview with Michael Robinson
    Dave Barber - Mike Maryniuk: Prairie Landfill Surrealist
    Noam Gonick - Notes on 1919
    Ryan Tebo - What is an Archive, What Does It Do, and What/Who Is It Good For?
    Jenny Perlin - Overall view
    Walter Forsberg - The Artist Stripped Bare of His Papers, Even: An Interview with Cory Arcangel
    Evan Meaney - On Glitching + The Ceibas Cycle
    Brittany Shoot - Everyday Ethics: A Meditation on Personal Counter-Archives
    Brett Kashmere - "At First Cozy, Became Transgressive": An Interview with Aleesa Cohene
    Michael Betancourt - The Stan Brakhage Visionary Title Generator
    Amelia Does - "Worthwhile Insanity": On Collage Filmmaking and Arthur Lipsett, An Interview with Bruce Conner
    William C. Wees - Representing the Unrepresentable: Bruce Conner's Crossroads and the Nuclear Sublime
    Bart Testa - The Unstable Eye: Paolo Gioli's Film Practice Seen Through Paul Virilio
    Sandra Gibson & Luis Recoder - FILM IS...NOT FILM

    DVD

    Noam Gonick - 1919
    Jason Orman - A Man and His Credo
    Bryan Konefsky - I Yam What I Yam
    Nicola Bergstrom & Valdemar Lindekrantz - Excavation No. 2
    Tasman Richardson - In The Eye
    Simon Aeppli - secondhand daylight
    Jessica Bardsley & Penny Lane - The Commoners
    Jo SiMalaya Alcampo - Paalaala/Remembrance
    Evan Meaney - Shannon's Entropy
    Philip Widmann - Destination Finale
    I LOVE PRESETS - I LOVE RESETS

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