Glitch Theory: Art and Semiotics
What do glitches reveal about the normally invisible processes behind our interpretations?
Price:
30 USD
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The Sublimity of Document: Cinema as Diorama
The Sublimity of Document: Cinema as Diorama is a collection of in-depth, substantive interviews with moving-image artists working "avant-doc, that is, making films that explore the territory between documentary and experimental cinema.
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Patrick Bokanowski - L'Ange
From the man revered as \'the artist-alchemist of celluloid\', this is an amazing marriage of sound and image. The characters, stuck in an infernal eternity take a staircase that leads to a final luminous irradiation.
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Jonas Mekas: Scrapbook of the Sixties: Writings 1954 - 2010
Scrapbook of the Sixties is a collection of published and unpublished texts by Jonas Mekas, filmmaker, writer, poet, and cofounder of the Anthology Film Archives in New York. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded moments of his daily life. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema.
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Philippe Garrel - Le lit de la vierge
The actor Clémenti is an anxious Christ, the singer Zouzou is Mary, mother Jesus, Mary the Saint, and Mary-Madeline. A complex movie, ambigous and Cult.
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Len Lye - Rhythms
A fine retrospective of the pioneer of \'direct film\' whose techniques included painting and scratching images directly onto celluloid, using found footage, casting shadows of objects onto unexposed film and experimenting with early colour techniques. A
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Takahiko Iimura - Sixties Experiments
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Jean-Jacques Lebel - Les Avatars De Vénus
The process leading to the making of the film-installation Les Avatars de Vénus goes back thirty years to the thousands of images I began picking up - from news stands, bookshops, libraries, museums, flea markets as I travelled around the world. Finallly,
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Talking about SPIN / VERSO / CONTOUR by Hannes Schüpbach
These conversations about Spin / Verso / Contour complement the essay by Maja Naef, which was released by Revolver Publishing in 2012 as Film as Corporeal Exposition – On Spin / Verso / Contour by Hannes Schüpbach. Each of these conversations comes to different conclusions about this work, which by definition treats film as both fragmentary and gestural. Film can articulate a real encounter; it can reflect a memory, or it can become an exhibition – as expanded cinema – or a spatiality that draws the viewer in.
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