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.
Rist discusses why he thinks Gerry signals a strong return to form for Van Sant.
The first of a two-parter.
Totaro gets the ball rolling on Gerry.
Professor Peter Rist reminisces on “Stan the Man”.
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.
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.
In a first of a two-part essay, Rist looks back at 25 years of attending the Montreal World Film festival.
Every ten years since 1952 the British journal Sight & Sound has been conducting a survey to find out which films merit inclusion into their Top Ten. As far as canon formation goes, this is one of the biggies. Have things changed much since 1992?
Active before and after the Iranian Revolution of 1979, writer-director Bahram Baizai is an important figure of Iranian cinema. Yet he has yet to receive the awards and accolades of his contemporaries, like Kiarostami, Makhmalbaf, Panahi, and Majidi, at least not in the West.
The notion of documentary truth might be best understood as that truth which is found in the way that we mentally organize our perceptions. Increasingly the theoretical understanding of documentary film is moving away from the notion of an inherent reality found within a film text and more towards an understanding of how texts are read.
Boistered by a half-year sabbatical, Peter Rist was a man on a mission, and watched over 250 films on the big screen in 2002. Rist gives us an idea about what makes Montreal one of the best cities in North American for the discerning filmgoer, and how it can be even better.
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.