
Featuring Turkish dancer Idil Kemer, Cynthia Madansky integrates performances of everyday movements and gestures as a direct response to the devastation brought about by the state-sponsored urban renewal project in downtown Istanbul.
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Featuring Turkish dancer Idil Kemer, Cynthia Madansky integrates performances of everyday movements and gestures as a direct response to the devastation brought about by the state-sponsored urban renewal project in downtown Istanbul.
2014-09-13
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6.0The rare short film presents a curious dialogue between filmmaker Julio Bressane and actor Grande Otelo, where, in a mixture of decorated and improvised text, we discover a little manifesto to the Brazilian experimental cinema. Also called "Belair's last film," Chinese Viola reveals the first partnership between photographer Walter Carvalho and Bressane.
0.0This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.
6.9In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.
3.8An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
5.0An experimental film that lifts the veil on the world of African American drag racing.
0.0WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.
0.0This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.
0.0This stream-of-consciousness could be nothing less than pathway of the soul, as images of Marilyn's window are remembered from inside-out, its "view" interwoven with all of other windowing and the Elements of the known world.
0.0"Firstly, I revealed in salutary confession the secret filth of my misdeed, which had long been festering in stagnant silence; and I made it my custom to confess often, and thus to display the wounds of my blinded soul..." (Petrarch, 1352, in a letter to his brother). I wish to avoid any "classical" misunderstandings of the above quote by stating clearly here that any sacrifice of love is, yes, "filth" or at the very least "misdeed." An academic reading of Petrarch tends to bias thought that there are kinds of love which might be wrong: I do not believe this. (SB)
0.0Out of the vagueries of sometime beseeming repetitive light patterns, and the delicately variable rhythms of thought process, the imagination of The Monumental and of the Ephemeral are born to mind hard as nails.
0.0This is an architectural garden of the variably brash rock-solid liquid-encompassing, but always imitative, human mind as it processes the given light thoughtfully. This film is about that.
0.0A look at the various modes of transportation made for the Expo '86 World Fair in Vancouver, Canada.
4.0A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.
4.2Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.
6.4A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.
0.0Valérie Jouve is a weel-known photographer, and Grand Littoral is her first film. Out the outskirts of Marseille, in a landscape criss-crossed by motorways, railways and srubland paths, some figures that seem to be from her famous photos passby and bump into each other. They act as our guides in a tour without beginning or end. How do you look at a place without taking possession of it? How do you describe characters without confining them within a given plot? How do you make the transition from still shots to moving pictures? this brief, musical film leaves us asking these and other unresolved questions.
Mick Glasheen, an architect and pioneer of early cinema and experimental film, created work that was heavily influenced by media theorists. His video Teleologic Telecast from Spaceship Earth: On Board with Buckminster Fuller, 1970, is a re-mixed recording of a Buckminster Fuller’s lecture given at UNSW, presenting Fuller’s ideas on science, metaphysics and the universe, merged with just as radical techniques of moving image production, creating a multi-layered expression of image, voice, and sound.
6.5A black-and-white visual meditation of wilderness and the elements. Wildlife filmmaker Richard Sidey returns to the triptych format for a cinematic experience like no other.