Tags: Michael Snow

Tagged content

Movement as Meaning in Experimental Cinema
Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.
Rating:

Average: 4.3 (21 votes)
Category:
Books
Publisher:
Bloomsbury
DIM Cinema: Eye on the Landscape

By Michele Smith on Fri, 21/07/2017 - 20:35

In Michael Snow’s tenth film, made in the twilight of the American lunar missions, the camera, attached to a robotic arm, casts its roving 360-degree eye across a remote, seemingly otherworldly mountaintop in northern Quebec. To a soundtrack based on the waves and pulses of the camera-activating machine, La Région centrale “transports its audience to a rugged Canadian landscape that is discovered at noon and then explored in seventeen episodes of dizzying motion as the machine’s shadow lengthens, night falls, and light returns” (Martha Langford, Art Canada Institute). Snow’s film is preceded by Daïchi Saïto’s kaleidoscopic exploration of the patterns and contrasts in the landscape of a Montreal park.

Dates:
Wednesday, July 26, 2017 - 19:00 to Thursday, July 27, 2017 - 18:55
Venue:
DIM Cinema - Vancouver, Canada
DIM Cinema: Almost Empty Rooms

By Michele Smith on Tue, 20/06/2017 - 09:13

DIM Cinema presents a free screening pairing two canonical works of Canadian experimental film: Michael Snow’s single-take across a New York loft, perhaps “the most consequential zoom shot in the history of cinema” (Jonathan Rosenbaum, Monthly Film Bulletin), and Alberta-born, B.C.-based filmmaker Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication” (Bart Testa, Canadian Encyclopedia).

Dates:
Wednesday, June 28, 2017 - 19:30
Venue:
DIM Cinema - Vancouver, Canada
On the Eve of the Future. Selected Writings on Film
The celebrated critic and film scholar Annette Michelson saw the avant-garde filmmakers of the 1950s and 1960s as radically redefining and extending the Modernist tradition of painting and sculpture, and in essays that were as engaging as they were influential and as lucid as they were learned, she set out to demonstrate the importance of the underappreciated medium of film. On the Eve of the Future collects more than thirty years’ worth of those essays, focusing on her most relevant engagements with avant-garde production in experimental cinema, particularly with
Rating:

Average: 4.1 (12 votes)
Category:
Books
Publisher:
The MIT Press
Abstraction in Avant-garde Films
Turim MCheryn. 1985. Abstraction in Avant-garde Films. Studies in Cinema. 32:165pp.
Tracing the rupture of the avant-garde

Beyond reading: image, imagination, aesthetic economies at play

Sound: beyond distinctions between music, noise and speech, a new process a new ordering

Gradual transformations and subtle changes

Visual dynamics, referential tensions and conceptual film

Flickering light, pulsing traces

Scanning landscapes and collapsing architectures: shattering the grounding of the subject/eye
Le cinéma visionnaire: L'Avant-garde américaine (1943-2000)

Sitney P.A. 2002. Le cinéma visionnaire: L'Avant-garde américaine (1943-2000). :440pp.
Visionary Film: The American Avant-Garde

Sitney P.A. 1974. Visionary Film: The American Avant-Garde. :479pp.
Expanded cinema

Youngblood G. 2013. Expanded cinema. Mediaversi. :xvi+388.
Cine expandido

Youngblood G. 2012. Cine expandido. :456pp.
Expanded Cinema

Youngblood G. 1970. Expanded Cinema. :432pp.
“The first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography.” (Wikipedia)

Pages