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A confrontation with the codes of narrative-representational cinema is one of Peter Tscherkassky´s constant concerns. If one attempts to distill a constant from his films, then this must surely be the oscillation between the abstract and the concrete, bet
Heinz Emigholz künstlerische Arbeit erkundet den Grenzbereich zwischen Film und bildender Kunst. Sein frühes Filmwerk lieferte wichtige Impulse für die internationale Experimentalfilmbewegung der 1970er und 80er Jahre und gehört zu den wenigen experimente
François Miron began makings films in 1982, working exclusively with emulsion (as in film NOT video) the body of his early work consist of several short experimental films, all created using a powerful film image manipulation technique that he has mastere
In the second enhanced ebook by Editions Light Cone, Rose by Rose Lowder, Lowder explains her unique approach to the film image and shares her experiences over almost half a century of creative work. Allowing the reader to move seamlessly between viewing and reading, the enhanced ebook format permits an in-depth exploration of moving images informed by the artist’s own words. Lowder’s reflections are accompanied by extracts she has selected from each of her films as well as an essay by critic and curator Enrico Camporesi of the Musée nationale d’art moderne in Paris.
Rüdiger Neumann, Filmemacher und Professor an der Hochschule für bildende Künste in Hamburg, hat mit seiner Lehrtätigkeit zwei Generationen von Filmemachern beeinflusst, die heute das aktuelle deutsche Kino mitbestimmen. Die HfbK war in den 1980er und 1990er Jahren die einzige experimentelle und politische Alternative zu den Filmschulen in München und Berlin. Rüdiger Neumanns kontroverses Donnerstagsseminar ist legendär. Auf dieser DVD werden erstmals die fünf wichtigsten Filme von Rüdiger Neumann veröffentlicht.
Evoking comparisons as various as Lynch's Eraserhead, Kubrick's 2001, Alexander Sokurov's cinema, and Hieronymous Bosch, this mesmerising feature creates a labyrinthine, Kafka-esque halfworld of chambers and baroque, macabre characters, all connected by a
In the 1990s, James Benning’s films were characterized primarily by an ongoing investigation of the relationship between the image and the (spoken or written) word. This 2-disc set features the two key works representing the peak of this “text-image film” period. In Deseret Benning (by way of the New York Times) retells the history of America’s Mormon State Utah through spectacular black & white and color images. Art and landscape join as one in Benning’s following film Four Corners, which serves as both a tribute to the famous region in the USA where four states converge and a portrait of four very different artists.
Chronic is an experimental narrative about a young woman who began mutilating herself as a girl to cope with a traumatic mid-western childhood. The lush optically-printed scenes take Gretchen’s point of view from her punk youth, a stay in a mental hospital, and her release into the big city. Scripted scenes are inter-spliced with documentary and found footage, illustrating the culture Gretchen lives in, her inner world and relationships from her birth to her final day.
"Patrick Bokanowski, the artist-alchemist of celluloid, employsan extraordinary range of technical invention - combing live-action with optical experiments, drawing, performance, painting, and animation - to conjure magical forays into a parallel universe
“a blueprint for critical resistance and aesthetic defiance in the face of digital capitalism and a rising new age” — Laila Shereen Sakr/ VJ Um Amel
Fear of the ‘machine artist’ reflects a deep cultural anxiety about industrialization, shaped by unresolved conflicts over automation and its potential to supplant human artists. Automated machinery represents both a technical development and a social paradigm that redefines labor, authorship, and creativity itself.
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