Keyword : Avant Garde
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).
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 ...
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.
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....
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....
The conclusion of Hendrik's multi-layered study of Kubrick.
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).
The first of an extensive, three part report on the music and sound festival Mutek.
A review which tries to capture the unique experience which is Béla Tarr’s Sátántangó.
An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.
A meditation on rural American, from Robert Frank.