Joshua Oppenheimer's The Act of Killing documents the efforts of a group of small-time gangsters in Indonesia to re-enact, through cinematic genres, their roles as executioners in the 1965-66 government-sponsored killings of so-called Communists.
"There has been a renewed interest in film and video performance over the last decade, evident in the emergence of the VJ (Video Jockey) and VJing as real-time visual performance. Groups such as 242.pilots, for example, have been described as a real-time video ensemble, improvising and re-animating, live with images, what the jazz band has traditionally executed through sound. The processing speed of digital imagery has enabled such new forms of image manipulation, often developing audiences via sonic communities inhabited by sound artists whose initial focus was experimental music."
A Rare Glimpse of the Late Street Photographer's 1970s Moving Image Work
Cinema Vortex's insight:
(VIDEO) "These fragile, observational clips uncover Vivian Maier’s largely unseen experimentation with film. The New York-born photographer spent 40 years working as a nanny in Chicago, simultaneously fostering a secret passion for image-making that led her to document the urban life of America, enjoying her productive peak in the 50s and 60s. “Vivian saw details that pass us by in everyday life,” says director, curator and the primary caretaker of Maier’s oeuvre, John Maloof."
“Vulgar auteurism” is a cinematic limbo game of “how low can you go” in recognizing cinematic art in the medium’s overlooked works, notably action movies. It’s a movement that doesn’t seek to repudiate the canon but to expand it.
The Notebook is proud to present this video essay in coordination with TRANSIT magazine, where you can find the Spanish version of the piece. LUCKY 13 13 variations
Cinema Vortex's insight:
"13 variations for 13 films, accompanied by the musical theme composed by François de Roubaix for Le samouraï (1967): the cinema of Jean-Pierre Melville condensed into a series of motifs that travel from movie to movie, reiterating and transforming, finding their full meaning only when they are put into relation. A non-exhaustive collection1, but filled with recognisable images that clearly obsess this filmmaker."
Download Issue 3 as PDF (5 mb) Issue 3 from oncurating-journal.org "Seven interviews address the question as to what constitutes and characterizes each respective style of curatorial work with the moving picture. How can the specific spatial situation in the cinema be conceived as a space which evokes meaning in a special way, and what is the nature of the narrative break brought about by showing films in exhibition galleries? What are the specific ideological structures which distinguish these spaces? "Curating Film" presents seven interviews with curators who work primarily with the format of film and/or video. These interviews were all conducted in May 2009 during the Oberhausen International Short Film Festival."
"Auroratone was the result of mechanical attempts by British-born Cecil Stokes to render music into projected colored images. The key idea here – mimicking synaesthesia with the help of machinery – dates at least as far back as French Jesuit Louis-Bertrand Castel’s 18th century “ocular harpsichord,” which correlated colors of the visible spectrum with notes of the musical scale."
The documentary film The Act of Killing asks Indonesian death-squad leaders to re-enact their crimes for the camera. They boast openly about their massacres as we observe the real effects of living a fiction.
DOWNLOAD PDF Whether it involves remaking an old Hollywood movie, projecting a quiet 16mm film, or constructing a bombastic multi-screen environment, cinema now takes place not just in the movie theatre and the home, but also in the art gallery and the museum. The author of this engaging study takes stock of this development, offering an in-depth inquiry into its genesis, its defining features, and the ramifications it has for art and cinema alike. Through the lens of contemporary art history, she examines cinema studies’ great disciplinary obsession – namely, what cinema was, is, and will become in a digital future.
"In conjunction with the exhibition "Stanley Kubrick" on view through June 30th, 2013, at the Los Angeles County Museum of Art, this FREE app for iPhone and iPad includes photos, documents and original interviews that recount Kubrick's groundbreaking achievements. "
“I never really intended to be an archivist,” says Mike Mashon, after recounting his diverse educational background. Mashon, the Head of Moving Image Section at the Library of Congress, received his undergraduate degree in Microbiology fromLouisiana State University, going on to pursue a Master’s in the same field at theUniversity of Texas. Working for the Texas Department of Health, he was the first person the organization ever hired to conduct research on AIDS. Yet the longer he worked with science, the less he wanted to make it a career."
By Nick Pinkerton "What is Vulgar Auteurism? If a May 24 primer in the Voice Media Group’s New York City paper is any indication, it’s a shameless attention grab. A critical tool of any use? Not so much. Yet all the world, or at least all the world’s editors, love a catchy tagline. So it was with the brief and fearful reign of Mumblecore over everyone but audiences, so it was in the days when media-savvy critics-turned-filmmakers launched the French Nouvelle Vague, whose architects “Vulgar Auteurists” frequently cite as predecessors. And now Vulgar Auteurism, a vaguely-defined idea whose moment of critical mass has arrived nevertheless, enters the conversation, despite the fact that no persuasive argument has yet been made for why the phrase should be vitally necessary to modify old, fuddy-duddy Auteurism."