Noticias generales

  • Concurso aniversario de Lowave

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    El aniversario del sello francés Lowave se acerca, y para comenzar a celebrarlo, Lowave ofrece 5 copias de su magnífico DVD Our stars & The little god, del seminal artista francés Maurice Lemaître, a los primeros en responder a una sencilla pregunta en el muro de Facebook de Experimental Cinema. Sigue leyendo para ver una muestra de lo que puedes ganar...

  • Kickstarter campign: INCITE! #3

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    Incite 3: New agesThe third issue of INCITE! Journal of Experimental Media, titled "New Ages" aims at addressing the generational shifts and divides in today’s experimental film, video, and new media spheres, utilizing the 2010 International Experimental Media Congress as an opportunity for reflection. In addition to compiling a dossier of idiosyncratic reflections on the Congress, this issue also focuses on the renewed fascination with "New Age" spirituality, philosophy and aesthetics among contemporary media artists. Some highlights of this issue include Walter Forsberg's wide-ranging essay about the computer animation (and accidental 3D) pioneer Lillian Schwartz, Thomas Beard's astute analysis of Shana Moulton's "Whispering Pines" video serial, a Jacob Ciocci and Jesse McLean "G-Chat," Jaimz Asmundson on his new film, "The Magus", Marisa Olson on Transcendentalism, and Brian L. Frye's citation study of "The New York Times", which measures the relative importance of avant-garde filmmakers.

    To cover publication costs, INCITE! has launched a Kickstarter campaign. You can help release this great publication with a small donation and even get past issues of INCITE!, experimental film DVDs or a silkscreened print of George Kuchar's portrait by Leslie Supnet in return.

    Contributors to this issue include: Dominic Angerame, Jaimz Asmundson, Jeremy Bailey, Christina Battle, Thomas Beard, Roger Beebe, Michael Betancourt, Mireille Bourgeois, Jacob Ciocci and Jesse McLean, Clint Enns, Walter Forsberg, Brian L. Frye, Benj Gerdes, Brett Kashmere, Eliza Koch, Kevin McGarry, James Missen, Shana Moulton, Peter Nowogrodzki, Marisa Olson, Andrew James Paterson, Ken Paul Rosenthal, Ekrem Serdar, Leslie Supnet, Tess Takahashi. Cover design by Jacob Ciocci.

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  • Carta del director del Festival Punto de Vista

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    Support Punto de Vista FestivalPara aquellos de vosotros que aún no conozcáis este gran festival, Punto de Vista es posiblemente el mejor festival de cine de España. dedicado al 'cine documental', mantiene una mirada crítica, apoyando los enfoques arriesgados y no narrativos, y con un fuerte énfasis en el cine experimental. La semana pasada le fue comunicado a Josetxo Cerdán, su director artísitico, que devido a fuertes recortes de presupuesto (a pesar del cacareado 'compromiso con la cultura' del partido governante), el festival dejaría de existir...

    El Festival Punto de Vista Festival ha proyectado la obra deRaymond Depardon, Jean Vigo, David Perlov, Jay Rosenblatt, Alan Berliner, J. P. Sniadecki, James Benning, Naomi Uman, Lynne Sachs, Ben Rivers, Ross McElwee, Satô Makoto, Jem Cohen, Barbara Hammer, Ben Russell, entre muchos otros...

    Por favor, ocupa sólo un par de minutos de tu tiempo para mostrar tu apoyo a Punto de Vista firmando la petición online aquí: http://actuable.es/peticiones/carta-apoyo-al-festival-cine-punto-vista-pamplona

  • 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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