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After working with Lotte Rieniger on her cut-out animation, Bartosch went on to create this poetic, tragic allegory. Animated through paper cut-outs, the film concerns \'The Idea\', represented by a young woman, who tries to spread her artist-creator\'s m
ANALOGIES
- Incantations 1968-1972 8'
- Analogies: Studies in the Movement of Time 1977 14'
- The Man Who Could Not See Far Enough 1981 33'
- secondary currents 1983-1990 b/w 16'
- Spirit Matters 1991 6'
"I'm an escape artist. I aspire to travel in the fifth dimension, to speak unknown languages, to discover the next stage in the evolution of thought. I construct structural parables that allude to the possibility of there being more to the universe than is permitted by our explanations." - Peter Rose
Second volume of Makinno Takashi's film works.
Contents:
- Tranquil (2008, 4:3, 8mm to video, 19 min, color)
Music by Makino Takashi & Hirano Toshihisa
- The low storm (2009, 4:3, 35mm&8mm to video, 16 min, color)
Music by Lawrence English
- Inter View (2010, 16:9, 35mm&8mm to HD, 23 min, color)
Music by Tara Jane O'Neil & Brian Mumford
- Ghost of OT301 (2014, 16:9, 16mm&8mm to HD, 9 min, color)
Music by Inconsolable Ghost
Three works by Ken Jacobs on 3D: Blankets for Indians (2012), A primer in sky socialism (2014) and The guests (2013).
Limited edition of 500
RE:FRAME is a selection of seven films from a contemporary cinema, removed from Bollywood, that testifies to the richness of creativity in India. Oscillating between documentary, video art, experimental film, and animation, this compilation explores the means with which the texture of memory is incorporated within postcolonial Indian society's individual journeys as well as its national psyche; within private circles as well as public spaces. It allows for contrasting points of view regarding the country's sitiuation and its unanswered question: when the past has yet to catch up with the present, is it a threat or an alternative to the present?
John Smith’s influential films have been shown in cinemas and galleries around the world for more than three decades. Inspired by the Structural Materialist ideas that dominated British artists’ filmmaking during his formative years, but also fascinated bJohn Smith’s influential films have been shown in cinemas and galleries around the world for more than three decades. Inspired by the Structural Materialist ideas that dominated British artists’ filmmaking during his formative years, but also fascinated by the immersive power of narrative and the spoken word, Smith has developed a body of work that deftly subverts the perceived boundaries between documentary and fiction, representation and abstraction. Drawing upon the raw material of everyday life, his meticulously crafted films rework and transform reality, playfully exploring and exposing the language of cinema.
In 1965, the experimental filmmaker Stan VanDerBeek (1927–1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system—a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology’s alienating impulse.
Notes For An Aleatory Flame is a personal manifesto of cinematic self expression flipped into speculative entryway for possibilities of communion with fresh & unforeseen personal methodologies. Through inquisitive poetics, this essay functions as a call for the self as image-making-instrument to slice through the media manure by engaging in the necromantic act of reinvigorating cinematic ruin. Martinod’s words beckon us to traverse new realms through the creation of portals and to witness reality through our personal relations with images.
Storm De Hirsch began publishing poetry and art criticism in American little magazines in the 1950s. Her work arrived in the vacuum of American postwar poetry and with no clear affiliation. It was on the periphery of the east coast Beat movement, engaging punctuative declarations, onomatopoeia, chorus repetitions and sensual, ornithological and Cabalistic imagery. De Hirsch’s poems are shamanistic, bearing properties of the magic ritual and incantation, and her mysticism as well as her passions for new forms led her in the visionary direction of the New American Cinema.
Comment « rendre compte » des expérimentations sans récit et comment « expérimenter » depuis les récits du cinéma narratif ? Dans les textes écrits par Prosper Hillairet, des passages s’opèrent, circulent dans les films, entre les films, les styles, les cinéastes, les époques. L’ ensemble, tour à tour consacré à l’avant-garde des années 20, comme aux cinéastes expérimentaux français des années 70 et 80, avec quelques incursions tardives dans le cinéma narratif, tisse une réflexion à partir du cinéma comme « forme visuelle ».
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