nedjelja, 26. svibnja 2013.

Seventh Art - a video magazine about cinema


The Seventh Art: A Video Magazine About Cinema


Izvrstan filmski časopis u video-formatu.
www.theseventhart.org/

The Seventh Art is an independently produced video magazine about cinema with profiles on interesting aspects of the film industry, video essays and in-depth interviews with filmmakers set in casual environments. The production is based in Toronto, Canada.
The magazine is based equally on the rich history of writing on cinema and French television shows about cinema, such as Cinéastes de notre temps. The video format allows us to seek ways to differentiate The Seventh Art from the former, while building on the latter through the lack of time or content limitations afforded by the internet. Conventional wisdom tells that internet users are looking for extremely short content, but we believe the value of this medium exists in the abolishment of assumptions of how users engage with content. Our sections err on the longer side because they are like a magazine, which you can pick up and put down at your leisure – never requiring that you consume all sections, or even each section in its entirety in one sitting.

With this video magazine format we strive to explore cinema in a manner that is at once accessible and in-depth as we pursue questions of film form/aesthetic that link back with the initial theorization of cinema as the seventh art – regardless of how unfortunately self-justifying this initial discourse had to be. We ask not only what is cinema, but when is cinema, where is cinema, how is cinema and why cinema, especially as media converges on new distribution models that are hopefully reflected in the cross-platform nature of our ‘magazine’.

 Issue #12  William Vega & Oscar Ruiz Navia Interview






 Download .MP3 of this interview

William Vega is a Colombian director and screenwriter, who directed four short films before completing his debut feature in 2012, La Sirga. Prior to directing his debut feature, Vega was assistant director to Oscar Ruiz Navia on El vuelco del cangrejo (Crab Trap, 2009).
La Sirga follows a young girl who is suddenly without her family and home. She finds the only relative she has left: her reclusive uncle, who operates a dilapidated lakeside inn. The film grew out of the production of his short, Simiente (2011), where Vega discovered the La Cocha Lake setting.
Thomas Vinterberg
La Sirga premiered at the 65th Cannes Festival’s Directors’ Fortnight before playing in the Discovery programme at the 2012 Toronto International Film Festival. We welcomed William and La Sirga‘s producer, Oscar Ruiz Navia, to our studio space, hosted by Onsite [at] OCAD U, to discuss his feature and Colombian cinema broadly.
This interview is from our extensive 2012 Toronto International Film Festival coverage and the full length interview was released in April 2013.
Special thanks to our friends for help in releasing Issue #12: Thomas Vinterberg, William Vega, Oscar Ruiz Navia, Bonne Smith, Don Marren, Rebeca Conget, Lina Rodriguez, Brad Deane, Dan Beirne, Etan Muskat, Suzan Ayscough, Liam Crockard, Charles Reeve, Lisa Deanne Smith, Dan Morgan, Simone Smith, Bradley Freeman, and Williams Design.
 Issue #11  João Pedro Rodrigues & João Rui Guerra da Mata Interview







 Download .MP3 of this interview

João Pedro Rodrigues and João Rui Guerra da Mata are Portuguese filmmakers who have worked together in various capacities since their first short film, Parabéns! (1997). Rodrigues has directed three feature films – O Fanasma (2000), Two Drifters (2005) and To Die Like a Man (2009) – where genres are mixed to tell stories that each deal, to some extent, with the theme of transformation.
João Pedro Rodrigues & João Rui Guerra da Mata
The films co-directed with João Rui Guerra da Mata – China China (2007), Red Dawn (2011) and The Last Time I Saw Macao (2012) – have increasingly blended non-fiction and fiction in their exploration of globalization, post-colonization and formal experimentation. The duo presented Macao in the Wavelengths program of the 2012 Toronto International Film Festival to appropriately high praise. It was our pleasure to host them at our TIFF studio space, Onsite [at] OCAD U, where we were treated to a candid, charming and insightful conversation about their incredible body of work.
This interview is from our extensive 2012 Toronto International Film Festival coverage and the full length interview was released in February 2013.
Special thanks to our friends for help in releasing Issue #11: Matías Piñeiro, João Pedro Rodrigues, João Rui Guerra da Mata, Blake Steels, Stephen Broomer, Sarbjit Kaur, Liam Crockard, Charles Reeve, Lisa Deanne Smith, Mark Jewusiak, Dan Morgan, Simone Smith, and Williams Design.
 Issue #11  The Man Who Left His Will on Film: Video Essay






» Download PDF Transcript

A video essay that considers how Nagisa Oshima’s The Man Who Left His Will on Film (1970) can be understood through its representation of the space of Tokyo, its political climate in the 1960s, the modernity thesis, and Richard Sennett’s The Fall of Public Man. Essay written and edited by Christopher Heron.
The Man Who Left His Will on Film
This essay investigates the role the city plays in this political discourse in Oshima’s film, where the tension is deliberately set against its urban backdrop, which seems to offer the circumstance that allows these student protesters to meet, develop their ideas and form their resistance. However, the urban setting also impacts the individual and by looking at the notable film within the film, which is tied to the protests, we understand cinema’s position as a modernist medium that is capable of mirroring what modernity theorist, George Simmel, characterized as the shocks of the modern city. Yet in documenting this personal experience through the film, the main character is criticized by his peers. This intrapersonal urban tension is something we will explore through Richard Sennett’s thesis that the masks of public life in the 18th century, which made these political discussions less likely to cause strife, unfortunately gave way to a conflation of public and private in the 19th century. This theory can be used to elucidate an otherwise complex narrative that is increasingly concerned with negotiating the private existence within a public sphere – here, a student group supporting the Japanese Communist Party. By engaging in filmmaking, the personal urban experience is given expression, conflating the private and the public, but is rejected by the community it hopes to document, conveying the ultimate impossibility of artistically existing in the public sphere and, specifically, the political community.
This video essay is from the eleventh issue of The Seventh Art, released in February 2013.
Special thanks to our friends for help in releasing Issue #11: Matías Piñeiro, João Pedro Rodrigues, João Rui Guerra da Mata, Blake Steels, Stephen Broomer, Sarbjit Kaur, Liam Crockard, Charles Reeve, Lisa Deanne Smith, Mark Jewusiak, Dan Morgan, Simone Smith, and Williams Design.
 Issue #10  Athina Rachel Tsangari Interview


 Download .MP3 of this interview

Athina Rachel Tsangari is a Greek filmmaker, visual artist and producer. She has produced fellow Greek filmmaker Yorgos Lanthimos’ films, including Alps and Dogtooth, among others through her production company HAOS films.
As a filmmaker she considers herself to be nomadic – a quality that her first feature, The Slow Business of Going, explores in both its story and its boundary-crossing form. Attenberg, her second feature, takes place in Greece, though it is more complicated than simply representing the nation, as its references to the anthropological quality of David Attenborough’s documentaries indicate.
Athina Rachel Tsangari
Athina brought her latest work, The Capsule, to the 2012 Toronto International Film Festival. The short film is a component of a larger multimedia piece – a milieu that Athina has worked within alongside her feature films – that was commissioned by the DESTE Foundation for Contemporary Art. We sat down on a particularly rainy day at our studio space, hosted by Onsite [at] OCAD U, to discuss all of Athina’s films, The Capsule in particular, as well as her love for Michael Bay and genre films.
This interview is from our extensive 2012 Toronto International Film Festival coverage and the full length interview was released in January 2013.
Special thanks to our friends for help in releasing Issue #10: Whit Stillman, Costa-Gavras, Athina Rachel Tsangari, Cameron Bailey, Stacey Donen, Stephen Broomer, Ingrid Hamilton, Genevieve Parent, Liam Crockard, Charles Reeve, Lisa Deanne Smith, Casey Bee, Annaliese Levy, Melanie Bozzo, Mark Jewusiak, Dan Morgan, Simone Smith, and Williams Design.
 Issue #1  Guy Maddin Interview


 Download .MP3 of this interview

Guy Maddin is a Canadian filmmaker known for his contemporary use of film styles associated with silent and early sound cinema. He has directed ten feature films (including My Winnipeg and The Saddest Music in the World) and a cornucopia of shorts, while also creating several installation works.
Guy was in Toronto to be honoured as part of Canada’s Top Ten Films for his latest work, Keyhole, and graciously sat down with us for a drink at Unlovable and a conversation about his body of work.
This feature interview is from the first issue of The Seventh Art, released in February 2012.
Special thanks to our friends for help in releasing Issue #1: Guy Maddin, Ron Mann, Andrew McIntyre, Casey Irvin, Simone Smith, Jay Ferguson, Johnny Kalangis, Matthew Dawydchak, Rich Duhaney, Unlovable and Wilson 96.




 Issue #12 (Apr. ‘13) 
Thomas Vinterberg
   Thomas Vinterberg
   (The HuntThe Celebration)
   50 min
The 2013 Canadian Screen Awards
   2013 Canadian Screen Awards
   (Live Show Highlights)
   33 min
William Vega & Oscar Ruiz Navia
   William Vega & Oscar Ruiz Navia
   (La Sirga)
   28 min
Le Mepris (Contempt) & Diva
   Le Mepris (Contempt) & Diva
   (Video Essay)
   27 min
    Issue #11 (Feb. ‘13) 
Matías Piñeiro
   Matías Piñeiro
   (ViolaThey All LieRosalinda)
   85 min
João Pedro Rodrigues & João Rui Guerra da Mata
   João Pedro Rodrigues &
   João Rui Guerra da Mata

   (The Last Time I Saw Macao)
   49 min
Pinewood Toronto Studios (Blake Steels)
   Pinewood Toronto Studios
   (Film & TV Production Facility)
   19 min
The Man Who Left His Will on Film Video Essay
   Man Who Left His Will on Film
   (Video Essay)
   18 min
    Issue #10 (Jan. ‘13) 
Whit Stillman
   Whit Stillman
   (Metropolitan, The Last Days of Disco)
   67 min
Costa-Gavras
   Costa-Gavras
   (ZLe CapitalMissing)
   42 min
Athina Rachel Tsangari
   Athina Rachel Tsangari
   (AttenbergThe Capsule)
   51 min
Cameron Bailey
   Cameron Bailey
   (TIFF Artistic Director)
   30 min
    Issue #9 (Dec. ‘12) 
Peter Mettler
   Peter Mettler
   (The End of Time)
   47 min
Ernie Gehr
   Ernie Gehr
   (Serene VelocitySide/Walk/Shuttle)
   56 min
Serge Bromberg
   Serge Bromberg
   (The Extraordinary Voyage)
   39 min
The 1983 Casablanca TV Series
   Casablanca 1983 TV Series
   (Video Essay)
   24 min
    Issue #8 (Oct. ‘12) 
Ben Wheatley
   Ben Wheatley
   (Kill ListSightseers)
   51 min
Rodney Ascher & Tim Kirk
   Rodney Ascher & Tim Kirk
   (Room 237)
   53 min
Rachel Grady
   Rachel Grady
   (DetropiaJesus Camp)
   26 min
The Psycho Sequels
   The Psycho Sequels
   (Video Essay)
   26 min
    Issue #7 (Sept. ‘12) 
Miguel Gomes
   Miguel Gomes
   (TabuOur Beloved Month of August)
   49 min
Mia Hansen-Love
   Mia Hansen-Løve
   (Goodbye First Love)
   53 min
Stephanie Weber Biron
   Stéphanie Weber Biron
   (Cinematographer, Heartbeats)
   32 min
The Tree of Life
   The Tree of Life
   (Video Essay)
   15 min
    Issue #6 (Aug. ‘12) 
Nicolas Pereda
   Nicolás Pereda
   (Greatest HitsSummer of Goliath)
   78 min
MDFF
   MDFF
   (TowerEast Hastings Pharmacy)
   47 min
The MDF Trilogy
   The MDF Trilogy
   (Video Essay)
   11 min
The Rodney King Tape in Malcolm X and Dark Blue
   Rodney King Tape in Film
   (Video Essay)
   27 min
    Issue #5 (Jun. ‘12) 
Joe Swanberg
   Joe Swanberg
   (Art HistoryHannah Takes the Stairs)
   92 min
Lauren Greenfield
   Lauren Greenfield
   (The Queen of VersaillesThin)
   23 min
The Godfather Part III
   The Godfather Part III
   (Video Essay)
   23 min
Pedro Costa's Ossos
   Pedro Costa’s Ossos
   (Video Essay)
   23 min
    Issue #4 (May ‘12) 
Peter Bogdanovich
   Peter Bogdanovich
   (The Last Picture ShowPaper Moon)
   51 min
Kinosmith
   Kinosmith (Robin Smith)
   (Distribution Company)
   34 min
The Girl with the Dragon Tattoo
   The Girl With the Dragon Tattoo
   (Video Essay)
   13 min
Representations of Death in Cinema (Dark Victory/Sans frere)
   Representations of Death
   (Video Essay)
   12 min
    Issue #3 (Apr. ‘12) 
Bruce McDonald
   Bruce McDonald
   (Hard Core Logo 2Pontypool)
    70 min
Patricia Rozema
   Patricia Rozema
   (Mansfield ParkWhite Room)
    95 min
Genie Awards Live Coverage
   Genie Awards Special
   (Canadian Film Awards Live Coverage)
   81 min
The Terrorizers
   The Terrorizers
   (Video Essay)
   18 min
    Issue #2 (Mar. ‘12) 
Ingrid Veninger
   Ingrid Veninger
   (i am a good person/… bad person)
   56 min
Steven Kostanski (astron-6)
   Steven Kostanski (astron-6)
   (ManborgFather’s Day)
   12 min
Moneyball
   Moneyball
   (Video Essay)
   29 min
Loop Collective
   Loop Collective
   (I. Pruska-Oldenhof, D. Browne)
   70 min
    Issue #1 (Feb. ‘12) 
Guy Maddin
   Guy Maddin
   (KeyholeBrand Upon the Brain!)
   79 min
FilmsWeLike (Ron Mann)
   FilmsWeLike (Ron Mann)
   (Distribution Company)
   24 min
Surveillance Camera Cinema
   Surveillance Camera Cinema
   (Video Essay)
   17 min
    Special Coverage 
2012 Toronto International Film Festival Coverage
   Toronto Int’l Film Festival ’12
   (12 TIFF Interviews + Clips)
The 2013 Canadian Screen Awards
   2013 Canadian Screen Awards
   (Live Show Highlights)
2012 Genie Awards Coverage
   Genie Awards ’12
   (Backstage Interviews)
The Seventh Art (The 7th Art) is produced by Daylight on Mars Pictures.
This website and its content is copyright of The Seventh Art - © The Seventh Art 2012-2013. All rights reserved. Videos linked to in our 'Worth Viewing' blog are the copyright of their owners.




“The Male Gaze Wide Shut”: a video essay defense of Stanley Kubrick using feminist film theory

Here we have another video essay, but this time it’s one of a particularly different tone than most. Creator Nikki Martin utilizes familiar techniques such as clips, photos, text, and narration but also includes herself delivering a fourth-wall-breaking address to the camera/viewer. These self-aware segments lend the piece a lighthearted and humorous character as she takes to defending threeStanley Kubrick films on the basis of feminist film theory. By way of Laura Mulvey and the psychoanalytic concepts found in her seminal essay “Visual Pleasure And Narrative Cinema”, Martin argues for Lolita (1962), Eyes Wide Shut (1999), and Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb (1964) as Kubrick works that contain evidence in opposition to criticisms of the director as a misogynist.

“Double lives, second chances”: a video essay connecting The Double Life Of Veronique and Inland Empire

This visually appealing video essay, put together by Cristina Álvarez López with an accompanying essay for Transit, crafts an intriguing parallel with two major works from two of cinema’s veritable masters: Krzysztof Kieslowski’s gorgeously metaphysical achievement The Double Life Of Veronique (1991) and David Lynch’s digital video masterpiece Inland Empire (2006).
López draws on both films’ narrative frameworks concerning interconnected identities to tease out image-based and conceptual comparisons between the two movies. The video is broken up into several chapters, each one introducing a singular idea and then presenting its proposed dualities through clips played in single-frame and multi-juxtaposed-frame forms.
The results are quite striking.

The Coen Brothers Discuss Beginning Films with Noah Baumbach

The latest Coen Brothers film, Inside Llewyn Davis, has just premiered at Cannes, which offers a good opportunity to take a look back at one of their more interesting interviews.
In the summer of 2011, the Film Society of the Lincoln Center invited the Coen Brothers to discuss their entire career over the course of an hour – with a bit of a twist. Joel and Ethan had just released True Grit in December of 2010 when they were asked to sit down with filmmaker Noah Baumbach. The conversation surrounds the question of ‘How do you begin a movie?’ The subject was the idea of the Coens, who brought five openings to their films to share alongside three of Baumbach’s. The conversation begins with the interesting comparison of Blood Simple and No Country for Old Men before Ethan describes the beginning of Baumbach’s Margot at the Wedding as ‘diametrically opposed’ to the Coen’s opening style – and that’s just the beginning of the analysis…
The three go on to discuss The Big Lebowski alongside GreenbergBurn After Reading as atypical for the Coens, and A Serious Man with The Squid and the Whale.

Agnès Varda’s Portrait Film of Chris Marker

The video embedded above is a portion of French filmmaker Agnès Varda‘s television documentary series Agnès de ci de là Varda. This excerpt showcases a friendly profile of her longtime friend Chris Marker. Varda explores Marker’s “magnificent mess” of a home studio, talks to the notoriously secretive artist about a number of topics, and even showcases the virtual life that Marker has created for himself in the game Second Life.
Don’t forget that TIFF Cinematheque’s film series Remembrance of Things to Come: Works By Chris Marker keeps on going strong later today with a screening of Marker’s essential 1977 workA Grin Without a Cat.
The program will conclude tomorrow evening with two of Marker’s highly-regarded late period films: One Day in the Life of Andrei Arsenevich (1999) and The Case of the Grinning Cat (2004).

Chris Marker’s 1997 visual essay film Level Five

Level Five (1997) is a feature-length experimental work in which writer/director Chris Marker. The film utilizes a fictional narrative device, a computer programmer using the internet to research The Battle of Okinawa for a game that’s production she is assisting, in order to craft a visual essay that explores the very real implications of such historical information as it relates to technology, war, history, personaly identity, time, and memory.
The TIFF Cinematheque’s film series, Films in Remembrance of Things to Come: Works by Chris Marker, explores these very same themes through Marker’s wide body of work, including this evening’s formidable triple-movie event: Remembrance of Things to Come (2003), La Jetée (1962), and The Sixth Side of the Pentagon (1968).
The program’s third screening will take place tomorrow with A Grin Without a Cat, Marker’s epic 1977 essay film focusing on the worldwide ramifications of the political turmoil that took place during May 1968. This film stands as one of Marker’s most recognized achievements and cannot be missed. For more information, click here.

Chris Marker Video Essay – Echo Chamber: Listening To La Jetée

Continuing on from yesterday’s post with another related Criterion extra, here we have an exceptional video essay that examines Chris Marker’s landmark short work La Jetée (1962) not from the perspective of its still-image visual aesthetic — as is so often done — but rather with specific attention paid to the film’s audio elements. This approach focuses on Marker’s use of an evocative ambient soundscape in addition to his employment of richly detailed voiceover narration and a beautiful musical score by Trevor Duncan (one that recalls Vertigo, a major inspiration for the film itself as well as an influence on Marker and his work in general).
As a reminder: TIFF Cinematheque’s semi-retrospective Marker program, Films in Remembrance of Things to Come: Works by Chris Marker, starts this evening with a screening of the French filmmaker’s 1983 movie Sans Soleil, an experimental travelogue that is often heralded as the greatest “essay film” ever made. The series will continue tomorrow with a triple-feature ofRemembrance of Things to Come (2003), La Jetée, and The Sixth Side of the Pentagon (1968). Program information can be found here.

Chris Marker Documentary: Chris on Chris by Chris Drake

This short documentary, Chris on Chris by Chris Drake, takes a look at the legendary — and elusive — French filmmaker (and writer/poet, photographer, artist, etc.) Chris Marker. It begins with the computer graphics work he contributed to American director Michael Shamberg’s 1988 movieSouvenir and further explores such works as Marker’s interactive CD-ROM project Immemory and his classic 1962 sci-fi/still-frame short film La Jetée. It also features an interview with Terry Gilliam, who remade Le Jetée as 12 Monkeys (1995).
Also detailed are Marker’s experimental travelogue/essay film Sans Soleil (1983) and A.K., his 1985 documentary portrait of Akira Kurosawa, made while the Japanese master was shooting Ran.
The documentary in this post can be found on the outstanding Criterion Collection release of Sans Soleil and La Jetée. If you’re a Toronto resident or you happen to be in Toronto sometime during the next few days, be sure to check out TIFF Cinematheque’s Chris Marker semi-retrospective series, which features both of these stunning works. Starting tomorrow, the program is entitled “Films in Remembrance of Things to Come: Works by Chris Marker”, which also features great Marker films that are discussed less frequently. Details on the program can be found by clicking here.

Pier Paolo Pasolini: Short Documentary Portrait of the Legendary – and Notorious – Italian Director

“The mark which has dominated all my work is the longing for life, this sense of exclusion, which doesn’t lessen, but augments this love of life.” – Pier Paolo Pasolini
This nonfiction profile of Pier Paolo Pasolini provides a multifaceted account of the Italian filmmaker/poet with a whole swath of content such as footage of the man himself, film frames and behind the scenes photos from his movies, and interviews with supporters/admirers as well as non-fans/dissenters.
Topics explored include Pasolini’s personality and reputation as an intellectual, how his political stances and religious beliefs (or lack thereof) contributed to his cinema, his 1967 Greek tragedy adaptation Oedipus Rex and his 1964 Christ-story retelling The Gospel According To St. Matthew.

Neorealism, a 1972 documentary account of Italy’s infamous film movement

Kicking off this week’s dose of daily video content is a time capsule: a 1972 documentary from Luca Verdone entitled Neorealism, which explores the the Italian film movement that came to personify Italy’s cinematic identity in the late 1940s and early 1950s.
The film contains interviews with a whole host of filmmakers associated with neorealism (Rossellini, De Sica, Fellini, Visconti, and more), as well as reflections on the movement from other important Italian directors who had a less substantial connection to the mode of filmmaking (Antonioni, Pasolini, Bertolucci, etc.). It also features a telling section where street interviews are conducted with Italian citizens, one of whom displays disdain for the changes to Italian cinema caused by the movement (“Movies used to be nice. Simple and nice.”) and another expresses weariness about the image that neorealist works project to foreign viewers about the state of society and conditions of life in Italy (“It’s no good to let others see the rotten teeth in our mouths.”).

She Puppet (2001), a short “machinima” film by Peggy Ahwesh

In the piece embedded above, American avant-garde filmmaker Peggy Ahwesh appropriates recorded footage of the video game Tomb Raider as a short work of machinima filmmaking. Ahwesh combines the exploits of in-game protagonist Lara Croft with a voiceover that quotes from various sources to craft an unusual examination of feminine identity. Her technique(s) highlights the relationship between player and virtual character as well as the nature of a female avatar with limited mobility – in more than one sense of the word – within a rigidly constructed world (one whose artificiality is readily apparent).

Video: a collection of early work by Sadie Benning, short films from 1989-1992

The initial phase of videos in the career of director/visual artist/musician Sadie Benning are autobiographical experiments made when she was a teenager with Fisher-Price’s PixelVision camera, a Christmas present she received from her father, the master avant-garde filmmaker James Benning. These short films constitute a raw and personal cinema of identity, brimming with intimate details and a diary/journal-like quality that make up an analog portrait of Sadie Benning’s coming-of-age as a young lesbian in Milwaukee, Wisconsin.

Semi-Auto Colours (2010), Isiah Medina’s fragmented 16mm portrait of youth in urban Winnipeg

“A film conditioned by the Book of Job, 808s and Heartbreak, and Illmatic – an attempt to think and organize these truths in conjunction with life in West End Winnipeg.” – Artist statement
Today we have, in the video embedded above, the debut work from a young Canadian filmmaker.Isiah Medina’s 2010 short film Semi-Auto Colours is an elliptical and poetic tale of youth — captured on 16mm — set in the West End of Winnipeg focusing on a group of kids who, as the brief synopsis notes, “…learn to count to One”.
Medina has described the movie as a reconstruction of various scenes he experienced with his friends in the neighborhood where he grew up.

Kahlil Joseph’s short film Wildcat (2013), a portrait of African-American rodeo subculture

“Black people are light years more advanced than the ideas and images that circulate would have you believe. The spaces we control and exist are my ground zero for filming, at least so far, and there are opportunities for me to tap into the energy…” – Kahlil Joseph
Featuring a score by electronic musician Flying LotusWildcat is the latest short film from director — and member of the Los Angeles-based filmmaker collective What Matters Most — Kahlil Joseph (Until The Quiet Comes).
A work of lyrical ethnography and a document of fringe Americana, Wildcat employs beautiful black-and-white images to explore the relatively unknown subculture of African-American rodeo. According to Nowness, Joseph “…visited the annual August rodeo in the sparsely populated Oklahoma town of Grayson (previously Wildcat), an event that attracts African-American bull riders, barrel racers and cowgirls from all over the Midwest and southern USA. He set out to celebrate the origins of the rodeo by paying respect to the spirit of Aunt Janet, a member of the family who founded the event, passed away last year and is embodied as the young girl in the film.”

Chantal Akerman and Catherine Breillat’s Lecture on Film Theory in 2001

In 2001, the European Graduate School invited Chantal Akerman (Jeanne Dielman…News from HomeAlmayer’s Folly) and Catherine Breillat (Fat GirlAnatomy of HellBluebeard) to discuss their “movies, theories, dramaturgy, creativity and the process of creation, filming, filmmaking, directing, the relevance of the camera, subjectivity, editing, and the magic and strength of the screen.” This was filmed as part of the Open Lecture series at EGS’ Media and Communication studies department program, held in Saas-Fee Switzerland, Europe. Be sure to crank the audio, the recording standards in 2001 were not what they are today.
EGS interestingly describes Belgian master, Chantal Akerman, as being self-taught (“briefly attended filmschool, but left after three months”), known for her “deconstructive style and pessimistic humor,” and isolates her themes as “observations of identity, sexuality and politics.” Meanwhile, Breillat “is known not only for her films focusing on themes of sexuality, gender conflict and sibling rivalry, but also for her best-selling novels,” she’s the “subject of controversy for her explicit depictions of sexuality and violence,” and isolates David Cronenberg a filmmaker that she “considers to have a similar approach to sexuality in film.”
This lecture is common for EGS, which has a mandate that promises “creative encounter with the foremost representatives and thinkers of expressive arts (coaching, consulting, education, social change, and therapy) and media and communication (architecture, art, contemporary philosophy, cultural studies, film, literary theory, literature, media studies, performance art, photography, and video).”

A brief preview of Ignatiy Vishnevetsky’s upcoming film Ellie Lumme (2013)

Critic-turned-filmmaker Ignatiy Vishnevetsky recently shared a short clip of raw footage from his upcoming GoFundMe-assisted project entitled Ellie Lumme (2013). The film is Vishnevetsky’s first work as a director, one which he describes as “a ghost story without a ghost” and a “…plotty, talky picture…” that has “…some funny parts” and will feature “…many shots of hands”.

Kentucker Audley’s Open Five 2 (2012)

“I don’t want there to be a separation between myself and the persona I’m putting out for the film. I want it to be sort of one and the same. I want to stay as close and true to myself as possible. There are limitations to that, and there are barriers to presenting pure life onscreen, so there are constructions and recreations and liberties taken, but the goal is to get as close to me as possible and for the films to be as close to a documentary as possible.” – Kentucker Audley, via Indie Outlook
As a follow-up to yesterday’s post, here we have the ‘loose continuation’ of that film with Memphis-based filmmaker/actor Kentucker Audley’s 2012 sequel Open Five 2. An even more fascinating and affecting mix of fiction and documentary elements than its predecessor, Open Five 2finds Audley shaping a (semi-fictionalized) narrative around another group of struggling artist friends — two of whom are in the process of finishing the editing of Open Five.
Once again, a road-trip is involved and the focus is mainly on character relationships, but the conflict and pain that were mostly in the periphery of the first Open Five film is explored by Audley this time with more depth and a level of intimate drama that achieves a naturalistic poignancy.

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