ISSN 1717-9559
Keyword : Experimental
3.
An historical contextualisation of Santiago Álvarez' bold political/experimental short films.
4.
An overview of Richard Kerr's multimedia installation, Industrie/Industry.
5.
A review of François Miron's revisionist, Sapphic film noir, which imagines a world where women act like Humphrey Bogart and men are nervous, jittery and timid.
6.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
7.
An review essay of the compilation DVD from Index, Sonic Fiction: Synaesthetic Videos from Austria.
8.
An interview with the seminal figure in structural cinema, Peter Kubelka.
9.
An analysis of the recent Index DVD compilation of Austrian experimental director Peter Tscherkassky.
10.
A review of Austrian experimental/avant-garde films on a DVD collection produced by Index.
11.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
12.
Recent films of New York filmmaker Bill Morrison have been concerned with the particular struggle between film and its material medium. There is a conflict between the image and matter which ruins the narrative of the original, twisted by the gnawing power of time, but which at the same time produces a paradoxical tale of ruins, born out of this double resistance of the filmic image and its material.
13.
The fact that Decasia (USA, Bill Morrison, 2002) has had many screenings at an equal amount of very diverse feature and documentary film festivals is testament to its slippery nature.
14.
This essay is a response to having seen a two programme retrospective of Bill Morrison’s work on April 28 and April 29, 2004 at La Cinémathèque Québécoise.
15.
It is during the retrospective of his work that was held in Montreal, on April 28-29 2004, at the Cinémathèque québécoise, that New York filmmaker Bill Morrison gave us this long interview, in which he discusses his background, his career, and certain essential features of his artistic and intellectual process, dwelling on issues concerning new technologies, the memory of the film material and the historicity of the filmic medium.
16.
Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.
17.
Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.
18.
An analytical peek into the twisted world of Guy Maddin.
19.
Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.
21.
Part two of Hendriks' close textual analysis of Friedrich's personal odyssey.
22.
Part one of Hendriks' close textual analysis of Friedrich's personal odyssey.
23.
By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.
25.
Stemming from his ongoing graduate work, first-time Offscreen writer Brett Kashmere delves headlong into the fascinating intersection of Brakhage and the cultural expression of the Post-World War II American avant-garde.
26.
Anyone who has heard Stan Brakhage lecture will probably be familiar with his now famous artistic credo, his “400 year plan”. Offscreen editor Donato Totaro provides a brief glimpse into the mountain of a man that was Stan Brakhage.
27.
Drawing on the wide-ranging theories of Michel Chion (Audio-Vision: Sound on Screen), William C. Wees (Light Moving in Time), Sergei Eisenstein (Nonindifferent Nature), Peter Kivy (Music Alone: Philosophical Reflections on the Purely Musical Experience), and Tom Gunning, Jordan explores how Brakhage's films and theory ask us to 're-learn' the fundamental principles of how we interect with the world around us.
28.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
29.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
30.
While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.
31.
In a perfect world Peter Mettler would be a household name. Unfortunately it isn't. Stefik takes you on a journey with one of Canada's lesser known gems, filmmaker Peter Mettler
32.
Stefik tries to define the particular and unique qualities that make up the Peter Mettler film experience. Although largely a review of Mettler's latest films, “Gambling, Gods and LSD”, Stefik also touches on some of Mettler's earlier works.
33.
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US).
34.
La Région Centrale (Quebec, 1971, 180 min., 16mm, color) is arguably the most spectacular experimental film made anywhere in the world, and for John W. Locke, writing in Artforum in 1973, it was “as fine and important a film as I have ever seen.” If ever the term “metaphor on vision” needed to be applied to a film it should be to this one. Following Wavelength, Michael Snow continued to explore ...
35.
Thirty-five years after its inception, Wavelength (Ontario, 1967, 45 min.) remains one of the most vital and (still) groundbreaking films in the history of experimental cinema. It is, quite simply, the “Citizen Kane” of experimental cinema. Screenings of Wavelength in and out of academic situations have probably generated more mixed emotions-frustration, boredom, exhilaration and awe (sometimes in the same spectator)- than any other film.
36.
If ever the term “Renaissance Man” applied, it would be to Michael Snow. Most artists would be pleased to have made inroads into one art, but Snow is a strange beast, extending his creative talons into music, painting, sculpting, photography, and film (are you dizzy yet?). So as ecstatic as we were to have one hour with Snow out of his extremely busy schedule, we realized given his prodigious achievements....
37.
The films of Michael Snow require a certain intellectual disposition. To be fully understood and appreciated they should be placed within the context of art history, and more specifically modernism, where each medium’s intrinsic value is maintained. But aren’t such pretensions to a medium’s purity merely utopian, or in the least fragmentary or incomplet
38.
Michel Chion’s Audio-Vision: Sound on Screen presents some compelling strategies for approaching and interpreting the use of sound in film, and provides many avenues for using sound as a way of understanding cinema from a more transcendental frame of mind. What Chion discovers through his process of coming to terms, so to speak, with his expanded vocabulary for sound analysis is that much of the deeper experience we get from cinema is a direct result of the transcendence....
40.
In the first of a two-part analysis, Leah Hendriks explores the fascinating interconnections that exist above and below the surfaces between maverick director Stanley Kubrick and the experimental film works of Maya Deren, Jordan Belson, Stan Brakhage, and Kenneth Anger. Hendriks concentrates mainly on 2001: A Space Odyssey (in part one) and Eyes Wide Shut (in part two).
41.
Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?
42.
Randolph uses Clive Barker's The Forbidden to explore how the Faustian myth of immortality persists in contemporary attempts at reproduction and regeneration through the intersections of art and science, art and nature, and music and film.
44.
A long overdue look at Zulueta's lost cult classic, Arrebato.
45.
The first of an extensive, three part report on the music and sound festival Mutek.
48.
Randolph Jordan relies equally on his 'eyes' and 'ears' as he concentrates on the often overlooked juxtaposition of sound and image, a dialectic that is becoming an increasingly important part of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
49.
Offscreen presents this probing interview with the Brothers Quay, conducted in Trieste, Italy.
50.
Early in 2001 Hors Champ presented a 4-day event featuring a selected program of vintage works by one of America's leading visual artists, experimental filmmaker Stan Brakhage. Nicolas Renaud recounts what was for many an extremely moving 4-day aesthetic experience.
51.
The Award winning Canadian experimental narrative film Subterranean Passage is a meticulously layered visual puzzle that slowly unravels through a series of echoing motifs on the wonder and resiliency of childhood imagination.
52.
Text of the lecture given by Donigan Cumming as part of a series of video screenings in France, October 25th to November 2nd 1999.
54.
SHANGHAEID TEXT is an interesting experimental short that blends original footage with a variety of found footage (Soviet and Hollywood films, soft porn, riot footage).
55.
The sciences do not try to explain, they hardly even try to interpret, they mainly make models.
Page 1 of 1 pages
Site Sections
Categories
- Asian CinemaMizoguchi, Miike, J Horror, ...
- Cinema(s) of CanadaQuebec Cinema, Egoyan, ...
- Film DirectorsBava, Pahani, Herzog, ...
- European CinemaAustrian, British, Italian, ...
- Film Aesthetics & HistoryBazin, Cinefest, Film Style, ...
- Horror and the FantasticEurohorror, Giallo, Craven, ...
- Non-Fiction CinemaDeren, Mettler, NFB, ...
- Popular GenresComedy, Fantasia, Mondo, ...