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Presenting films from the 52nd Ann Arbor Film Festival, 2014.
Includes works by Ian Cheng, Karolina Glusiec, Jennifer Reeder, Helena Wittmann, Karimah Ashadu, Joel Wanek, Jessica Sarah Rinland, Malena Szlam, Lois Patiño, Johan Rijpma, Wojciech Bakowski.
Devotional Cinema, reprised from filmmaker Nathaniel Dorsky's lecture on religion and cinema at Princeton University, is a rare treasure of penetrating insight into the language of film. In a compelling style, somewhere between a Zen koan and a Victorian love story, Devotional Cinema makes the case for mindful viewing as a transcendent experience. In the process, Dorsky reflects upon the role of filmmaking in faith, prayer, pleasure, and the renewal of the human spirit. For Dorsky, the material nature of film illuminates a path to devotion. Devotional Cinema is a guide for makers and viewers who, like Dorsky, seek the 'elemental glory' of film." Kathleen Tyner (author of Literacy in A Digital World)
"Jules Engel's films, uniquely among the leading exponents of abstract animation, exhibit a thoroughly Post-Modern sensibility: witty, eclectic, versatile, literate but accessible, classical but popular."
--Dr. William Moritz
The film is divided into five parts, which differ in the visual and musical structure of each other. The plot - it is about two women and their love for each other is of secondary importance.
John Latham (1921 - 2006) was one of the most important British artists of the post-war period, best remembered for his painting and sculptural works which incorporated materials such as glass, canvas and books. Less well-known, but now restored after several decades out of circulation, are the six films which Latham made during the 1960s and early 1970s. These films developed Latham’s concepts of ‘time-base’ and ‘structure in events’ through playful and varied use of stop-frame animation, from the stroboscopic collage Speak (1960) to the cosmological meditation Erth (1971).
An experimental film in the treatment of the relationship of the features from image to sound (0-sound) on the penetration of different communication layers.
A new reading of the work of a major American and international artist, well known for her depictions of the female body, of society's attitude to women and particularly for her pioneering work as a performance and video artist in the cause of feminism, in the context of artists' reactions to major world issues and a return of the historical genre in art today, underlining her unflagging commitment to the recording of history as it happens.
Published on the occasion of the eponymous exhibition at the Musée départemental d'art contemporain de Rochechouart in 2013.
This box brings together the key works of Jonas Mekas, one of the most prolific avant-garde film artists and an acclaimed poet. Born in Lithuania in 1922, chased west by Soviet and Nazi forces, Mekas and his brother spent four years in German displaced persons' camps before arriving in New York in 1949 where they started shooting 16mm films on exile, military domination and poetic freedom. Jonas developed his diary style of filmmaking while busying himself as a film critic, programmer, organizer and distributor.
A collection of sourcebooks compiled by experimental filmmaker Peggy Ahwesh during the production of some of her most notable films: Martina’s Playhouse (1989), The Deadman (1990), She Puppet (2001), Ape of Nature (2009), and OR119 (2022). Each of these films are significant milestones in Ahwesh’s career and have had remarkable influence on the landscape of experimental filmmaking.
Sarah Pucill’s films and photographs explore the mirroring and merging we seek in the Other; a sense of self which is transformative and fluid. Her work is concerned with the idea that as subjects we are not separate.
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