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A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised more
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice. close
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are more
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males. close
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement.
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement. close
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work more
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work of several parts. Part one constructs an auditorium in which an action will be staged. Part two assembles the chorus to narrate the action. Part three supplies the action. close
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. more
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing. close
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting more
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting rich diagonals in the early morning or late afternoon. Each shadow is a subtle balance of stillness and movement; it shows the vital instability of space. Its special quality opens a passage to the subjective; a voice within the film speaks to memory. The walls are screens through which I pass to the inhabited privacy. We experience a place through the perspective of where we come from and hear another's voice through our own acoustic. The sense of place is never separate from the moment." – R.B. close
What lives in the space between the stones, in the space cupped between my hand and my chest? Filmmaker/stonemason. A tower or ruin of remembrance. With more
What lives in the space between the stones, in the space cupped between my hand and my chest? Filmmaker/stonemason. A tower or ruin of remembrance. With each swing of the hammer I cut into the image and the sound rises from the chisel. A rhythm, marked by repetition, and animated by variation; strokes of hammer and fist, resounding in dialogue. In this space which the film creates, emptiness gains a contour strong enough for the spectator to see more than the image – a space permitting vision in addition to sight. close
Rottenberg’s newest film, Cheese (2007), conflates farm-girl imagery with the fairy tale “Rapunzel” into a story loosely based on the Sutherland Sisters, more
Rottenberg’s newest film, Cheese (2007), conflates farm-girl imagery with the fairy tale “Rapunzel” into a story loosely based on the Sutherland Sisters, renowned for their extremely long hair. Floating through a pastoral yet mazelike setting of raw wooden debris cobbled together into a benign shantytown, six longhaired women in flowing white nightgowns “milk” their locks and the goats they live with to generate cheese. Shots of animals crowded in pens and the sisters’ bunk bed– cluttered room visually compare the women to their ruminant allies. As nurturing caretakers, these women represent maternal aspects of Mother Nature. Here Rottenberg investigates feminine magic, the ability to “grow things out of the body” as she says, as the ultimate, wondrous physical mystery. close
Conceived and photographed with the loving collaboration of Susan Vigil during the last year of her life, Song and Solitude is balanced more toward an more
Conceived and photographed with the loving collaboration of Susan Vigil during the last year of her life, Song and Solitude is balanced more toward an expression of inner landscape, or what it feels like to be, rather than an exploration of the external visual world as such. close
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither more
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither film nor video. Highly stroboscopic and hallucinatory, these kinetic performances result in otherworldly spaces and plays of near-abstraction and suggestive imagery. Mountaineer Spinning features an evocative musical score. This work highlights Jacobs' relentless experimentation with the very fabric of projected light. close
A group of mourners and a man spat from the depths of Hades build a boat from the debris of New Orleans to rescue their lost loved ones trapped beneath the sea.
A group of mourners and a man spat from the depths of Hades build a boat from the debris of New Orleans to rescue their lost loved ones trapped beneath the sea. close
The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images more
The filmmaker, fighting ovarian cancer, stage 3, returns to her experimental roots, in a multilayered film of numerous chemotherapy sessions with images of light and movement that take her far from the hospital bed. A a cancer ‘thriver’ rather than ’survivor’, Barbara Hammer rides the red hills of Georgia O’Keefe’s Ghost Ranch in New Mexico, the grassy foothlls of the Big Horn in Wyoming, and leafy paths in Woodstock, New York changing illness into recovery. The haunting and wondrous music of Meredith Monk underscores and celebrates in this film that lifts us up when we might be most discouraged. close
A pair of astronauts is trapped on an orbital space station due to unexpected nuclear war on Earth. They lost contact with Earth, and all attempts to more
A pair of astronauts is trapped on an orbital space station due to unexpected nuclear war on Earth. They lost contact with Earth, and all attempts to communicate with their base or anybody else have failed. close
paris was made as a music video for the Norwegian rock trio MoE, whose raw style is between metal and noise. "I like the anger," is roared into the microphone more
paris was made as a music video for the Norwegian rock trio MoE, whose raw style is between metal and noise. "I like the anger," is roared into the microphone programmatically by the charismatic bassist and singer Guro Skumsnes Moe, who also writes the lyrics. In addition to the highly charged front woman´s raw voice, nothing more than an electric bass, guitar and drums are required to express pure anger and desperation. Roisz translates each instrument and Moe´s voice into its own visual level, and the end results are then layered visually. close
A digital animation of a Victorian stereoscopic photograph of a 19th-century factory floor, crowded with machinery and child workers. Filmmaker Ken Jacobs more
A digital animation of a Victorian stereoscopic photograph of a 19th-century factory floor, crowded with machinery and child workers. Filmmaker Ken Jacobs isolates the faces of individuals and details of the image, as if searching out the human and the particular within this mechanized field of mass production. Space appears to fold in on itself as Jacobs activates the stereograph; the agitated image flickers and stutters, but the motion never, in fact, progresses. close
Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.
Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies. close
Daniel is going to a party. When he rings the doorbell, he is asked to borrow sugar from the neighbor. However, it doesn't turn out to be simple, as everyone more
Daniel is going to a party. When he rings the doorbell, he is asked to borrow sugar from the neighbor. However, it doesn't turn out to be simple, as everyone seems to mistake him for someone else. And speaking up isn't always the easiest thing to do. close
In Kevin Jerome Everson’s deeply affecting Ears, Nose and Throat, a woman’s testimonial faculties are confirmed through medical examinations before she more
In Kevin Jerome Everson’s deeply affecting Ears, Nose and Throat, a woman’s testimonial faculties are confirmed through medical examinations before she recites a tragic story, whose horrors we don't see, hear, or smell, but can imagine far too easily. close
An expedition leaves Ushuaia for the Antarctic circle. Pierre Huyghe, along with six other artists, is brought aboard Jean-Louis Etienne's boat in search more
An expedition leaves Ushuaia for the Antarctic circle. Pierre Huyghe, along with six other artists, is brought aboard Jean-Louis Etienne's boat in search of an uncharted island inhabited by a strange creature. Imprisoned by ice floats, they come across an albino penguin that they capture with their recording station. Six months later, on the Wollman Ice Rink in New York's Central Park -- another sea of ice -- Joshua Cody conducts his orchestral score inspired by the expedition's topographical records. close
The great French actor, Marcel Dalio, who has the lead role in Jean Renoir's THE RULES OF THE GAME, also appears in Renoir's GRAND ILLUSION. In both films more
The great French actor, Marcel Dalio, who has the lead role in Jean Renoir's THE RULES OF THE GAME, also appears in Renoir's GRAND ILLUSION. In both films he plays a character who is Jewish, as Dalio was in real life. In fact, in most of the French films he's in the 1930s, he almost always plays shady characters, informers, blackmailers and gangsters. In other words, he is always "the Jew." When the Nazis invaded France in 1940, he fled to America and appeared in CASABLANCA and TO HAVE AND HAVE NOT. In America, he was no longer the Jew but The Frenchman. He became, in dozens of films, America's idea of a typical Frenchman. His film career has these two strands in which he has two different identities. Are you defined by other people and their perceptions of who you are? Are you always a creation of the way people want to see you? Or can you exist outside of the arbitrary boundaries which are placed on you? close
The first of two devotional songs. Part One of a set of Two Devotional Songs. “The Visitation” is a gradual unfolding, an arrival so to speak. I felt more
The first of two devotional songs. Part One of a set of Two Devotional Songs. “The Visitation” is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts. close
An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my more
An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me. -Nathaniel Dorsky close
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