tag:blogger.com,1999:blog-90626765696639612022024-03-17T23:34:57.871-07:00Expanded CinemaUnknownnoreply@blogger.comBlogger83125tag:blogger.com,1999:blog-9062676569663961202.post-45300672641333663112012-05-21T07:57:00.001-07:002012-05-21T07:57:12.427-07:00Antonio Reis e Margarida Cordeiro<div style="font-family: Georgia,"Times New Roman",serif;">
<span style="font-size: small;">Jaime (1974) </span></div>
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<span style="font-size: small;">35mm, 35 min.</span> </div>
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<span style="font-size: small;">"While working at Lisbon’s famed Miguel Bombarda sanatorium,
psychologist Margarida Cordeiro discovered a series of arresting
drawings by the subject of her first film with Reis, a recently deceased
former patient and paranoid schizophrenic named Jaime Fernandes.
Keeping a deeply respectful yet never tentative distance from the asylum
world as a realm of unfathomable mystery, Reis and Cordeiro linger over
Fernandes’ remarkably expressive drawings, assembling a profoundly
moving and hypnotic portrait of a gifted artist and powerful emblem of
Portugal’s virtual imprisonment during the repressive Salazar regime." <a href="http://hcl.harvard.edu/hfa/films/2012aprjun/reis.html">Harvard Film Archives</a> (on view as part of <strong><strong><a href="http://hcl.harvard.edu/hfa/films/2012aprjun/reis.html"><i>The School of Reis: The Films and Legacy of António Reis and Margarida Cordeiro</i></a>)</strong></strong></span></div>Unknownnoreply@blogger.com188tag:blogger.com,1999:blog-9062676569663961202.post-37265416339419421682011-01-23T21:17:00.000-08:002011-01-23T22:25:26.880-08:00B. S. Johnson<div><br /></div><div>Fat Man on a Beach (1973)</div><div><br /></div><div><span class="Apple-style-span" style=" white-space: pre-wrap; font-family:monospace, sans-serif;font-size:12px;"><iframe title="YouTube video player" class="youtube-player" type="text/html" width="480" height="390" src="http://www.youtube.com/embed/VwKvtcJk2fU" frameborder="0"></iframe></span><br /><div><br /></div><div><br /></div><div>British experimental novelist, poet, critic, and filmmaker B.S. Johnson, author of<i> Alberto Angelo</i> (1964) and <i>House Mother Normal</i> (1971) made several films in his brief ten year career. <i>Fat Man on a Beach</i>, finished just before his suicide at age 40, starts with Johnson's unique brand of the absurd and comic, and ends with him walking directly into the sea:</div><div><br /></div><div><span class="Apple-style-span" style=" ;font-family:Arial, Helvetica, sans-serif;font-size:12px;">“A simple but audacious idea was proposed: Johnson should revisit his beloved Lleyn penninsula [setting of Johnson's first novel, <em style="font-size: 12px; font-family: Arial, Helvetica, sans-serif; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-color: initial; outline-width: 0px; outline-style: initial; outline-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Travelling People </em>(1963)] . . . and he should make a film about it. The format would be quite straightforward: forty minutes of Johnson sitting on his favourite beach, Porth Ceriad, and talking directly to camera about anything that happened to come into his head" Jonathan Coe,<i><a href="http://www.amazon.com/Like-Fiery-Elephant-Story-Johnson/dp/0826417353"> L</a></i><span class="Apple-style-span" style=" line-height: 15px; font-family:arial, sans-serif;font-size:small;"><i><a href="http://www.amazon.com/Like-Fiery-Elephant-Story-Johnson/dp/0826417353">ike a Fiery Elephant: The Story of B.S. Johnson </a></i></span></span></div><div><span class="Apple-style-span" style="font-family:arial, sans-serif;"><span class="Apple-style-span" style=" line-height: 15px;font-size:small;"><i><br /></i></span></span></div><div><span class="Apple-style-span" style="font-family:arial, sans-serif;"><span class="Apple-style-span" style=" line-height: 15px;font-size:small;"><i><span class="Apple-style-span" style=" font-style: normal; line-height: normal; font-family:Georgia, serif;"><div><a href="http://www.youtube.com/watch?v=rJhmeZhqrwQ&feature=related">Part II</a></div><div><a href="http://www.youtube.com/watch?v=ASclxnJLXWc&feature=related">Part III</a></div><div><a href="http://www.youtube.com/watch?v=XIqB-giRcyA&feature=related">Part IV</a></div><div><a href="http://www.youtube.com/watch?v=jCyyHjkvji0&feature=related">Part V</a></div></span></i></span></span></div></div>Unknownnoreply@blogger.com39tag:blogger.com,1999:blog-9062676569663961202.post-37035648345176005722010-12-22T10:00:00.000-08:002011-01-23T22:08:45.713-08:00Alain ResnaisToute la mémoire du monde (1956)<br /><span class="Apple-style-span" style="font-family: monospace, sans-serif; font-size: 12px; white-space: pre-wrap; "><iframe title="YouTube video player" class="youtube-player" type="text/html" width="480" height="390" src="http://www.youtube.com/embed/9ijNNfHpiu8" frameborder="0"></iframe></span><br />"With its long tracking shots through cavernous library hallways and its skeptical corresponding text (courtesy of writer Rémo Forlani), Alain Resnais' short essay film Toute la Mémoire du Monde imagines the Bibliothèque Nationale as a forbiddingly inhuman landscape in which man attempts to imprison "knowledge" in an effort to counter the limits of his own memory. Only in the act of individual selection - a single patron choosing a specific text - is there hope that this undifferentiated mass of knowledge can be redeemed, as the reader makes discriminating use of the collective national memory for the fulfillment of a constructive individual purpose." <a href="http://aschenker.blogspot.com/2008/03/toute-la-m-du-monde.html">Andrew Schenker</a>Unknownnoreply@blogger.com113tag:blogger.com,1999:blog-9062676569663961202.post-30458428268865167542010-12-08T20:48:00.000-08:002010-12-08T21:43:48.781-08:00Henry Hills<div>SSS (1988)</div><div><br /></div><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/HkxH9dDEK_0?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HkxH9dDEK_0?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="400" height="305"></embed></object><div><span class="Apple-style-span" style="font-family:georgia, sans-serif;color:#000000;"><span class="Apple-style-span" style=" line-height: 15px; white-space: normal;font-size:medium;"><br /></span></span></div><div><span class="Apple-style-span" style="white-space: normal; "><span class="Apple-style-span" style="line-height: 15px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:medium;">Henry Hills filmed several performers on the streets of New York's East Village, editing the footage with music improvised by Tom Cora, Christian Marclay, and Zeena Parkins.</span></span></span></span></div>Unknownnoreply@blogger.com73tag:blogger.com,1999:blog-9062676569663961202.post-142446618890649992010-11-27T16:00:00.000-08:002010-12-08T21:44:21.363-08:00Jean-Claude Risset/Lillian SchwartzMutations (1969)<div><br /></div><div><span class="Apple-style-span" style=" white-space: pre-wrap; font-family:monospace, Helvetica, sans-serif;font-size:12px;"><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/jWEf97Z7cVI?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/jWEf97Z7cVI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="400" height="305"></embed></object></span><br /><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: small;">French composer Jean-Claude Risset helped to pioneer computer music at Bell Labs in the early 1960s.</span></span><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="line-height: normal; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span><span class="Apple-style-span" style="line-height: normal; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: small;">Made in collaboration with computer pioneer Lillian Schwartz, this film sets animations by Ken Knowlton and others to Risset's titular composition for solo tape, which features a seemingly infinite glissando among its effects. Click here for </span></span><a href="http://www.youtube.com/watch?v=diLa2lig3dw"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="color:#000000;"><span class="Apple-style-span" style="font-size: small;">part 1 of a 1976 documentary on Schwartz's work with computers.</span></span></span></a></span></span></div><div><br /></div><div><br /></div><div><br /></div></div>Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-9062676569663961202.post-76061935605939033842010-05-12T08:00:00.000-07:002010-12-08T21:44:44.213-08:00Forough Farrokhzad<span style="font-style:italic;">The House is Black</span> (1963)<br /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/bG08p2zUGA0&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/bG08p2zUGA0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="400" height="305"></embed></object><br /><br />The only film directed by Iranian poet Forough Farrokhzad, who died tragically just four years later at the age of 32, <span style="font-style:italic;">The House is Black</span> is a documentary on a leprosy colony in Tebriz, Iran, with Farrokhzad's narration of Koranic verses and excerpts from her own poetry.Unknownnoreply@blogger.com26tag:blogger.com,1999:blog-9062676569663961202.post-5848223007111100132010-05-11T08:00:00.000-07:002010-12-08T21:45:13.384-08:00Elaine Summers<span style="font-style: italic;">Windows in the Kitchen</span> (1976)<br /><br /><object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/IMr_bEiIx20&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/IMr_bEiIx20&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="305" width="400"></embed></object><br /><br />The opening sequence of Elaine Summers' <span style="font-style: italic;">Windows in the Kitchen</span>, part of the pioneering "intermedia" artist's collaboration with the Judson Dance Theater.Unknownnoreply@blogger.com14tag:blogger.com,1999:blog-9062676569663961202.post-64799788443574531862010-03-22T08:00:00.000-07:002010-03-22T11:38:07.812-07:00Robert FilliouAnd So on, End So Soon: Done 3 Times (1977)<br /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/CxckexTBEPk&hl=en_US&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CxckexTBEPk&hl=en_US&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br />According to Fluxus artist Robert Filliou, art was born on January 17th, somewhere around 1,000,000 years ago, when someone dropped a dry sponge into a bucket of water.Unknownnoreply@blogger.com22tag:blogger.com,1999:blog-9062676569663961202.post-40882522619885256622010-01-06T12:42:00.000-08:002010-01-06T12:51:27.434-08:00Val Del OmarFuego en Castilla (1960)<br /><br />José Val del Omar's (Granada 1904-Madrid 1982) extraordinary film, centered around a series of Alonso de Berruguete and Juan de Juni sculptures.<br /><br /><span style="font-weight:bold;">Part I</span><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/gGSSwxy9wzM&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gGSSwxy9wzM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Part II<br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/PTJGOcnwTHE&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/PTJGOcnwTHE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Part III<br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/vW0O8lZoXiw&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/vW0O8lZoXiw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Unknownnoreply@blogger.com15tag:blogger.com,1999:blog-9062676569663961202.post-24696793203518167352009-12-18T08:00:00.000-08:002009-12-18T10:44:19.111-08:00Herbert KosowerThe Face (1967)<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Ux1vXfriyio&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Ux1vXfriyio&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Herb Kosower taught animation and film graphics in the USC film program in 1960-1907s; George Lucas and John Milius were among his students.Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-9062676569663961202.post-70605172280252564022009-12-09T11:33:00.000-08:002009-12-09T11:39:35.785-08:00Paul Dougherty<span class="Apple-style-span" style=" white-space: pre; font-family:Arial, Helvetica, sans-serif;font-size:10px;"><div><span class="Apple-style-span" style=" ;font-family:'Lucida Grande';font-size:11px;">White Collar Funk (c. 1970s)</span></div><div><br /></div><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/QKTf1cNRd7M&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/QKTf1cNRd7M&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><div><span class="Apple-style-span" style="font-family:Arial, Helvetica, sans-serif;font-size:85%;"><span class="Apple-style-span" style=" white-space: pre;font-size:10px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial, Helvetica, sans-serif;font-size:85%;"><span class="Apple-style-span" style=" white-space: pre;font-size:10px;"><span class="Apple-style-span" style=" white-space: normal; font-size:12px;">"It was a time when the novelty of having a video camera would stir interest and create interaction. Here on 23rd St. bet Park & Lex, uptown side. Back then I screened a work in progress to a video artist I worked with named Juan Downey. He suggested taking the edit I had and playing it back on the street I made it about to interact with people, which I did. That's the part you see here. I'm not nuts about my manner as an on-the-street reporter but hey, I was fresh out of college. It's called "White Collar Funk" because even though the area was filled with office workers from Met Life etc, it remained gritty and had none of the (then) glamor of midtown office district. Of all the dozens of NYC neighborhoods going upscale now, E. 23rd is still keepin' it real, relatively speaking."</span></span></span></div><div><span class="Apple-style-span" style="font-family:Arial, Helvetica, sans-serif;font-size:100%;"><span class="Apple-style-span" style="font-size:12px;">Paul Dougherty</span></span></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9062676569663961202.post-71845929222743883332009-05-11T08:00:00.000-07:002009-05-11T12:48:26.567-07:00Pauline Oliveros<div>Performance at Cal State (2007)</div><div><br /></div><div>Houston-born composer and accordionist Pauline Oliveros performs an improvisational piece at Cal State.</div><div><br /></div><div>Part 1</div><span class="Apple-style-span" style="font-family: Arial; font-size: 10px; white-space: pre; "><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/8rdnXFXrUhE&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8rdnXFXrUhE&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><br /><div><br /></div><div>Part 2</div><div><span class="Apple-style-span" style=" white-space: pre; font-family:Arial;font-size:10px;"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/TG04MZwlQDc&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/TG04MZwlQDc&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><br /></div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-9062676569663961202.post-12643175124789397912009-03-26T08:00:00.000-07:002009-03-27T12:55:48.082-07:00Maria LassnigKantate (1992)<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/4sDSZ9GwnCE"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4sDSZ9GwnCE" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />"The Austrian artist Maria Lassnig tells us the story of her life in 14 verses, beginning with her birth and ending with her life as it is today. Simultaneusly - in the background - we see the story as animated drawings, full of irony, humor and wisdom." (Hubert Sielecki)<br /><br /><a href="http://www.youtube.com/watch?v=4sDSZ9GwnCE">Click here if above does not play</a>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-9062676569663961202.post-78277020548995536592009-03-16T10:45:00.000-07:002009-03-16T10:53:38.627-07:00Tino Sehgal"This is so contemporary" (2000)<div><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/yPWQBmC5iAY&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yPWQBmC5iAY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /></div><div>The uniformed museum guards of the Fondazione Nicola Trussardi perform Sehgal's piece, also shown in the German pavillion of the 2005 Venice Biennale.</div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-9062676569663961202.post-69601288694951527812008-12-24T13:51:00.000-08:002008-12-24T14:02:20.032-08:00Olivier MessiaenMessiaen on birdsong (late 1960s?)<br /><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/9QdgUJss9BU&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/9QdgUJss9BU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Composer Olivier Messiaen, whose compositions in the late 1950s and early 1960s often incorporated elements of birdsong, describes and mimes the nightingale’s song, as his second wife, pianist Yvonne Loriod, plays his own transcription on the piano.Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-9062676569663961202.post-35920884075228407412008-12-08T23:08:00.000-08:002008-12-08T23:11:22.520-08:00Hotel Morphila OrchesterWhat's in the brain (1979)<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/kb-eLr7-76Q&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/kb-eLr7-76Q&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Founded in Vienna in 1978 by artists Peter Weibel and Loys Egg, Hotel Morphila Orchester plays "What's in the brain", based on William Shakespeare's Sonnet 108, in this Austrian television broadcast from 1979.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-9062676569663961202.post-8152745320213906142008-11-24T18:57:00.000-08:002008-11-24T19:15:01.906-08:00Pat O'NeillSaugus Series (1974)<br /><br /><object type="application/x-shockwave-flash" wmode="transparent" data="http://ubu.artmob.ca/video/flash/flvplayer.swf?file=ONeill-Pat_Saugus-Series_1974.flv&autostart=false" height="250" width="400"><br /> <param name="movie" value="http://ubu.artmob.ca/video/flash/flvplayer.swf?file=ONeill-Pat_Saugus-Series_1974.flv&autostart=false"><br /> <param name="wmode" value="transparent"><br /></object><br /><br /><br /><br />Seven short 16mm vignettes, made up of meticulously assembled still lives, and displaying O'Neill's masterful use of optical printing.Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-9062676569663961202.post-26287033332775110812008-11-23T17:20:00.000-08:002008-11-23T17:26:54.829-08:00Marcel BroodthaersInterview With A Cat (1970)<br /><a href="http://ubu.artmob.ca/sound/broodthaers_marcel/Broodthaers-Marcel_Interview-With-A-Cat.mp3">Click here</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.luxflux.net/artists/Broodt/8m.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 307px; height: 322px;" src="http://www.luxflux.net/artists/Broodt/8m.jpg" alt="" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Recorded at the Musée d'Art Moderne, Département des Aigles, Düsseldorf, 1970Unknownnoreply@blogger.com11tag:blogger.com,1999:blog-9062676569663961202.post-1703155276541264232008-11-23T16:59:00.001-08:002008-11-23T17:19:45.714-08:00Mark LeckeyFiorucci Made Me Hardcore (1999)<br /><br /><object type="application/x-shockwave-flash" wmode="transparent" data="http://ubu.artmob.ca/video/flash/flvplayer.swf?file=Leckey-Mark_FiorucciMadeMeHardcore_1999.flv&autostart=false" height="250" width="400"><br /> <param name="movie" value="http://ubu.artmob.ca/video/flash/flvplayer.swf?file=Leckey-Mark_FiorucciMadeMeHardcore_1999.flv&autostart=false"><br /> <param name="wmode" value="transparent"><br /></object><br /><br />Using footage of discos, northern soul nights, and raves across Britain in the 70s, 80s and 90s, Leckey's film explores the ongoing subculture, and iconography, of nightlife, leisure, and consumption.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-9062676569663961202.post-33343091185184606562008-09-23T07:55:00.000-07:002008-09-23T07:58:53.652-07:00Charlemagne PalestineSchlingen Blaengen (2008)<br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/qCuWlYGAbO8&hl=en&fs=1"><param name="allowFullScreen" value="true"><embed src="http://www.youtube.com/v/qCuWlYGAbO8&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" height="344" width="425"></embed></object><br /><br />Composer, and trained cantor, <a href="http://en.wikipedia.org/wiki/Charlemagne_Palestine">Charlemagne Palestine</a> performs on the organ of the Lisbon Cathedral earlier this year.Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-9062676569663961202.post-16889319033096327952008-09-22T17:37:00.000-07:002008-09-22T17:46:45.801-07:00Derek BaileyOn the Edge (1992)<br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/o0wkWaOa0r8&hl=en&fs=1"><param name="allowFullScreen" value="true"><embed src="http://www.youtube.com/v/o0wkWaOa0r8&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" height="344" width="425"></embed></object><br /><br />In this excerpt from the four-part, 55 <span style="border-bottom: medium none; background: transparent none repeat scroll 0% 50%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;" class="yshortcuts" id="lw_1222130197_1">minute film “On the Edge</span>”, originally aired on Channel 4 TV in the UK in 1992, the late <span style="border-bottom: 1px dashed rgb(0, 102, 204); background: transparent none repeat scroll 0% 50%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;" class="yshortcuts" id="lw_1222130197_2">Derek Bailey</span>, who wrote the series, talks about his views on improvised music, interspersed with clips of his wildly discontinuous yet fluidly creative playing---marked by the use of brevity, relentless invention, and wide melodic intervals.<br /><br />Bailey’s obit <a href="http://www.guardian.co.uk/news/2005/dec/29/guardianobituaries.artsobituarie">from the Guardian.</a>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-9062676569663961202.post-9981100175174234622008-07-25T09:48:00.000-07:002008-07-25T09:57:02.331-07:00Kurt KrenSentimental Punk (1979)<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/6OEEe4QaJ-4&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/6OEEe4QaJ-4&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />"It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan. " Kurt KrenUnknownnoreply@blogger.com2tag:blogger.com,1999:blog-9062676569663961202.post-65761952668015797722008-06-26T08:30:00.000-07:002008-06-26T09:28:29.522-07:00Karlheinz StockhausenFour Criteria of Electronic Music, 1972 (Excerpt)<br /><br /><embed src="http://www.youtube.com/v/pIPVc2Jvd0w&hl=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed><br /><br /><div></div>This excerpt from Stockhausen's seminal, near-hypnotic lecture---complete with the composer's deft mimicry---focuses on the production of 'sounds,' and revolves around his central premise that electronic music should make use of sonorities not available to the voice or traditional instrumentation.Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9062676569663961202.post-26345643105097626512008-04-29T22:55:00.000-07:002008-04-29T23:03:43.571-07:00Chantal Akerman<p></p>Hotel Monterey (1972)<br /><br /><p></p><embed style="width: 400px; height: 326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=1122703952077679546&hl=en" flashvars=""></embed> <p></p><br /><br />Akerman's early feature, marked by the influence of structuralist film, explores the interior of a cheap New York hotel.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-9062676569663961202.post-67448698665882340122008-04-29T22:44:00.000-07:002008-04-29T23:11:00.160-07:00Harun FarockiThe Interview (1998) (Excerpt)<br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/WBQgsIotR7A&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/WBQgsIotR7A&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br />"In the summer of 1996, we filmed application training courses in which one learns how to apply for a Job. School drop-outs, university graduates, people who have been retrained, the long-term unemployed, recovered drug addicts, and mid-level managers - all of them are supposed to Iearn how to market and sell themselves, a skill to which the term "self management" is applied. The self is perhaps nothing more than a metaphysical hook from which to hang a social identity. It was Kafka who Iikened being accepted for a job to entering the Kingdom of Heaven; the paths leading to both are completely uncertain. Today one speaks of getting a job with the greatest obsequiousness, but without any grand expectations." Harun FarockiUnknownnoreply@blogger.com3