Whether it involves remaking an old Hollywood movie, projecting a quiet 16mm film, or constructing a bombastic multi-screen environment, cinema now takes place not just in the movie theatre and the home, but also in the art gallery and the museum. The author of this engaging study takes stock of this development, offering an in-depth inquiry into its genesis, its defining features, and the ramifications it has for art and cinema alike. Through the lens of contemporary art history, she examines cinema studies’ great disciplinary obsession – namely, what cinema was, is, and will become in a digital future.
There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking. This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything ...
For An Oil Free Future is a mini-series of protest videos against fossil fuel prospection and extraction (oil and natural gas) off the Portuguese coast (offshore) and in land (onshore) through fracking.
Synopsis: In a dystopian future in which oil extraction has become a catastrophic reality in Portugal, a citizen-journalist looks back and questions how it was possible to go ahead with such plans.
Over the last few years, and particularly in 2015 under the former PSD/CDS-PP right-wing government, several contracts were signed between the Portuguese State and major oil companies (Galp, Partex, Repsol, Eni, Australis, Cosmos and the controversial Portfuel). The matter ...
For more than thirty years Farocki has been a filmmaker, documentarist, film-essayist and installation artist. What preoccupies him above all is not so much an image of life, but the life of images, as they surround us in the newspapers, the cinema, history books, user manuals, posters, CCTV footage and advertising. His vast oeuvre of some sixty films includes three feature films (Zwischen den Kriegen/Between the Wars, Etwas wird sichtbar: Vietnam/In Your Eyes: Vietnam, Wie Man sieht/As You See), essay films (e.g. Images of the World-Inscription of War), critical media-pieces, experimental work, children’s features for television, historical film essays (e.g. ...
I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written:—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate diverse histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of ...
What kind of image is the filmic image? The standard answer is: a “moving image”. What is a moving image? The standard answer is: a) an image that has movement in it, and b) an image that is moving. The filmic image has both, it shows movement and it is moving. The specific case of the filmic image is that despite the kind of movement it entails it is expanded in time and we perceive and see it in the full sense of the word as an image of movement and not only as a moving image. The moving image of ...
(Originally performed live as part of the exhibition ‘Last Year at Marienbad Redux’, curated by James Voorhies/Bureau for Open Culture at EFA Project Space, New York City, 2013.)
Musician James Brown would fine any member of his band if they could not provide him with a new and entirely comprehensive interpretation of ‘Last Year at Marienbad’ before going on stage. Thus, it is a little known fact that most of the major scholarship surrounding the film was pioneered by Bootsy Collins. (140 springs, 8-10 degrees Celsius, carbonated, used in the treatment of renal, urological, respiratory, rhinitic, asthmatic, digestive, endocrinal and metabolic problems ...
Call me Ishmael. Some years ago — never mind how long ago precisely — having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; …
A screening and discussion of films on recent struggles in the logistics sector.
BBC, Panaroma: Amazon’s Truth Behind the Click, 2013
Maria Elena Scandaliato, Sciopero Generale Logistica, 2013
Cinema Action, Dock Strike 1972
Films and clips from Oakland, Bologna, Ellwood and more…
Guest speakers from Angry Workers of the World [http://angryworkersworld.wordpress.com/]
The Factory Without Walls (short version)
Angry Workers of the World
Angry Workers of the World
(Jack Wills Leaflet)
Circuits of Recomposition: Towards and Beyond
the #22M Logistics Workers’ Strike
Society of Enemies
Blockading the Port Is Only The First of Many Last Resorts
Brian Ashton, ‘Logistics and The Factory Without Walls’ (long version)
Jasper Bernes, ‘Logistics, Counterlogistics ...
MILTON FANGLINN: My name is Milton Fanglinn. I don’t teach, no. I work in the antiquities industry as a kind of. . . well let’s say a freelance scholar. I run a small consulting business, first out of New York but now from London, authenticating and researching the provenance of ancient objects in the field. Most of these don’t things have paper- work, or known owners, and are probably never going to be seen by the public. I have worked discreetly for many of the finest museums in the world, none of which would ever want its competitors to know ...
KATHRIN (JUNE 20, 2008): I watched your film Loboda and listened to the sound piece His Living Voice over and over again and marveled at the mysteriousness of the two works. If I remember correctly, you exhibited them in a hut-like setting along with maps. Can you say something about the background of these two works?
ANDREAS (JUNE 23): Both pieces are part of the installation May the Circle Remain Unbroken, which—as you mentioned—also consists of a series of altered maps and an altered print. All these elements are centered around issues connected to back-to-nature movements, like self-sustaining, anarchic freedom, self-awareness, ...
In contrast with media constructed as vast, ontologically homogeneous, non-localized systems, formats show material networks of interoperability and exclusions, inscribed in local specificities, and involving precise conditions for the circulation of images and sounds. Formats, institutionalized as standards, frame the “technical networks” defined by Gilbert Simondon, that unfold technical objects into economically and politically structured webs that cover the world. Media are always formatted and, as such, do not flow: they are displaced.