Keyword : Sound
By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.
Part two on Gerry.
Totaro gets the ball rolling on Gerry.
The first of a two-parter.
Rist discusses why he thinks Gerry signals a strong return to form for Van Sant.
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.
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.
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.
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....
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.
Part two of Randolph's exploration into 'sonic' immortality
The first of an extensive, three part report on the music and sound festival Mutek.
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.
Part two of Randolph Jordan's coverage of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.