ABOUT

An Introduction to the Works of Mark Rappaport Pt. 2: Faux(to)biographies. Last post we went over the early works of overt fiction, everything from Casual Relations through to Chain Letters, though I focused most explicitly on his first two films.

The later works in the fiction period are also very good but continue to explore the themes and questions I feel like I expounded in my first piece. Does the fact I didn’t spend much time on The Scenic Route, Imposters, and Chain Letters mean you should skip them? No, by all means see them. See them multiple times; they’re the continuation of the earlier films and when dealing with something as new and unusual as these films, any further exegesis is a gift to be carefully studied and put into some relationship to the earlier works.

An Introduction to the Works of Mark Rappaport. (I should mention that I’m friends with Rappaport.

I helped him with his fight with Ray Carney and gave the push for him to publish his absolutely delightful book of fiction and essays The Moviegoer Who Knew Too Much in the native English it was written in. I sought out his acquaintance because of the admiration for his work I express in this essay, and therefore I don’t feel there’s a conflict of interest. However, such connections should be noted.) Mark Rappaport, though retired from making films, is still busy at work recombining images and impressions of films past in his photo collage work. While his early shorts are amusing, especially Blue Movie, the best place to come to an appreciation of Rappaport’s distinctive style is his first feature Casual Relations, a collection of around 12 shorter meditations on the place of boredom, apathy, and in-between moments. Independent-America-20090126-145700. Photomontages by Mark Rappaport : Le Nouvel Observateur.

Mark Rappaport [from FILM: THE FRONT LINE 1983] The following is a chapter from my book Film: The Front Line 1983 (Denver, CO: Arden Press) — which is still in print, although it probably remains the least well known of my books.

I’m immensely grateful to Jed Rapfogel and Stephanie Gray at New York’s Anthology Film Archives for furnishing me with a document file of this essay so that I could post it here, originally to help promote their Mark Rappaport retrospective in March 2011. Readers should also consult my separate articles about Rappaport’s Rock Hudson’s Home Movies and From the Journals of Jean Seberg as well as my interview with Rappaport about the latter, all of which are also available on this site. — J.R. So Many Corpses, So Little Treasure - CINESPECT. For one brief week in March, Anthology Film Archives is making available the work of Mark Rappaport: eight features, one lengthy short, lacking only his second feature, “Mozart in Love” (1975) and a handful of shorts.

Make available is, in this case, a pointed term: while Rappaport’s most recent work is not hard to access, the six features he made between 1972 and 1985 are almost impossible to see, and in fact “Mozart in Love” seems to be unavailable in any format. What makes the screening noteworthy is the fact that these films are remarkable, perhaps the last true examples of an important strain of the New York avant garde that first flowered with the Kuchar brothers and Jack Smith, and is all but missing from the American Independent sensibility today.

But then, maybe I’m not being fair for other reasons. Mark Rappaport: Zigzagging through Film History. Filmmaker and artist Mark Rappaport, whose exhibit "Brief Histories Of… and Correspondence Course(s)" played during the New York Film Festival, talks about his unique way of seeing cinema.

Visitors to this year’s New York Film Festival could, if they chose to, walk up to the Frieda and Roy Furman Gallery adjacent to the Walter Reade Theater, have seen a different type of film fest. On display was “Brief Histories Of… and Correspondence Course(s),” a series of photo essays in which images from classic film narratives were reframed to make different, often more personal, stories.

For its creator, filmmaker/artist Mark Rappaport, “It’s a leapfrogging, zigzagging, hopscotching, time-traveling, three-dimensional chess game through film history.” ‘Blue Streak’ review by Keith Uhlich. Keith Uhlich’s review: And the love affair begins… I'm fascinated by, and always on the lookout for, those films that are truly transgressive.

Blue Streak (1971) directed by Mark Rappaport. ‘Mur 19’ review by Keith Uhlich. Independent America, 1978-1988 by Jonathan Rosenbaum. The Scenic Route Movie Review (1978. Mark Rappaport makes movies that look, sound and feel like nobody else's movies.

He is an original. He has discovered and recorded his own universe in the same sense that William Blake, Lewis Carroll, J. R. R. Tolkein or Charles Addams have. It's a universe in which a handful of central characters adapt postures and attitudes towards each other in the midst of the broadest possible melodramatic structures. In his new “The Scenic Route" (which arrives at Chicago Filmmakers on Saturday straight from the Directors' Fortnight at Cannes), he gives us three primary characters: Two sisters, Estelle and Lena, and a young man named Paul who lives first with Estelle, then with Lena, and then with both. From The Journals Of Jean Seberg Movie Review (1996. If it is true, as Jean-Luc Godard once said, that "cinema history is the history of boys photographing girls," then one task of movie historians should be to find out what happened to the girls in the process.

Mark Rappaport, who uses the Godard quote in his new film "From the Journals of Jean Seberg," takes it to heart in a unique way. He presents Seberg as the narrator of her own life. Seberg died in 1979, hounded to suicide by the FBI, which planted poisonous items about her in a gossip column. Since she was not available to play herself, Rappaport uses the actress Mary Beth Hurt (who looks a little like Seberg might have) to play her. And the movie's narration is all spoken by "Seberg," in the first person. Some of it may be based on things she said or thought. Seberg's was a life that had a storybook beginning and a tragic ending.

But Otto Preminger was not the perfect mentor for an Iowa girl thrust into the spotlight. Mark Rappaport - Film Forum on mubi. The Independent Vision: Snapshots of Mark Rappaport. Mark Rappaport is the best-kept secret in American film.

More hilarious than the Coen brothers, weirder than Hal Hartley, deeper than Woody Allen, and more deadpan than Steven Wright, he is one of America's most original and unclassifiable comic geniuses. But his work is more than funny. For more than thirty years, Rappaport has been mapping the ever-expanding frontier of American unreality.

He is a geographer of our fantasies, dreams, and obsessions, and one of the greatest celebrators of the transforming power of love in the history of film. He is a genuine national treasure. The Scenic Route (1978, Mark Rappaport) I knew when I started this that it would probably be unlike anything I've ever seen.

I was right. Did that affect my viewing at all? Myths of the New Narrative (and a Few Counter-Suggestions) The following is taken from the online Moving Image Source, and the first introductiion is by David Schwartz. –J.R. This essay was commissioned by the Museum of the Moving Image in 1988 for a catalogue accompanying the month-long, 150-film retrospective Independent America: New Film 1978-1988.

The ambitious series, which took place during the Museum’s inaugural season, was an attempt to make a statement not just about the state of experimental filmmaking at the time but also about the Museum’s wide-ranging programming philosophy. Independent America, 1978-1988 by Jonathan Rosenbaum. Anthology Film Archives : Film Screenings. 6:00 PM Special Program with Middle East Filmmakers Group Emilie McDonald OTHER PEOPLE'S HOUSES (2010, 17 minutes)When a lonely, struggling single mom searches for a connection with a clique of upwardly mobile moms, she finds that the greatest connection is the one with her daughter.

Charles Mann, Franco Sacchi 'IT'S A YOUNG COUNTRY': TURKEY AND AKBANK (2009, 18 minutes)Akbank's quest for future growth provides a lens through which to view the energy of contemporary Turkey. Striking images, insightful commentary, and well-crafted vignettes portray Turkey's transformation. The Curator and the Critic at Vancouver 2003 – A Report. Lasting a solid two-week stretch (September 25 – October 10), the Vancouver International Film Festival (VIFF) has come to play an increasingly complex role in the international exhibition of non-mainstream films. While most festivals are content to run their entire program and exhaust their spectators’ attention and their staff’s stamina within ten days, Vancouver’s atypical length puts it on the same league as its smaller, yet aesthetically ambitious, “cousin” from across the border, Seattle (May 22 – June 15), or the Hong Kong International Film Festival (April 8 – 23).

These three festivals have more in common than the golden light of the Pacific. They were founded as cinephilic events for the local audience, as a forum to showcase foreign films ignored by distributors. The presence of international film critics came as an after-effect, and usually involves one aspect of their programming: the Asian section. Frank Tashlin. B. February 19, 1913, Weehawken, New Jersey, USA d.

May 5, 1972, Hollywood, California, USA. Adrian Martin. Kenneth Anger. View topic - Avant-Garde, Experimental & Non-narrative Films. Com » Blog Archive » Myths of the New Narrative (and a Few Counter-Suggestions) We Hardly Knew Ye by Michael Atkinson. With Steven Spielberg's Lincoln—a destined recombination of historical mythopoeia and Tinseltown sanctimony if there ever was one, even in the history of films about Lincoln—we come upon the ever-popular cultural reflex known as the biopic, a genre with very strange rules and a very suspect modus operandi.

Anthology Film Archives : Film Screenings. BAM/PFA - Film Programs. BAM/PFA - Film Programs. BAM/PFA - Film Programs. BAM/PFA - Film Programs. Director Introduction: Mark Rappaport. CINIS VITAE: MARK RAPPAPORT. Blog Archive » The Seberg We Missed: Interview with Mark Rappaport. Rock Hudson's Home Movies. Mark Rappaport. Blog Archive » Man on a Shoestring: An On-Location Report on Mark Rappaport’s IMPOSTORS.

Blog Archive » Mark Rappaport [from FILM: THE FRONT LINE 1983]