tarkovskys-stalker-poet-in-destitute
Andrei Tarkovsky's Stalker is more like a poem than any film I know. I watch it every few years, and on each viewing it is more profoundly uneasy, more beautiful, more luminous with sorrow. There may be greater films than Stalker - although surely not many - but I know of none that touches me more personally; it lives beneath my skin and quickens my sense of what it means to be conscious and alive. Tarkovsky's films often have a nimbus of prophecy, and Stalker is no exception. It is commonly pointed out that the landscape of the Zone, shot near an Estonian chemical plant in the late '70s, uncannily prefigures the abandoned homes and rusting tanks of post-catastrophe Chernobyl, but there is more to the film's haunting power than its glimpses of a post-human world littered with the detritus of civilisation. The Stalker (Alexander Kaidanovsky) is a man whose dangerous vocation is to guide people to the Zone, an abandoned village under heavy military guard.
Chris Marker
O cineasta Chris Marker morreu no dia 30 de Julho. Autor multifacetado, nos primeiros de carreira, em 1957, passou por Portugal onde registou um conjunto de fotografias que desafiaram o cânone do Estado Novo. A historiadora de Arte Susana S. Martins estudou a obra de Chris Marker para um doutoramento e o texto que publicou nas páginas do Público resulta dessa investigação que pode ser consultada aqui. Os mistérios de Chris Marker em Portugal Susana S. (Público, 06.08.2012) Muito antes de se ter tornado no aclamado realizador de La Jetée (1962) ou Sans Soleil (1982), Chris Marker começou por se destacar noutras áreas, nomeadamente como jornalista, poeta, ficcionista e crítico de literatura e de cinema em publicações de referência como os Cahiers du Cinéma ou a revista de esquerda Esprit. Em 1957, é lançado o 16º volume desta colecção, dedicado a Portugal. Muitas das imagens seleccionadas são profundamente desconcertantes. O livro sobre Portugal tem ainda outra importante particularidade.
Looking at the Landscape of Childhood in Ivan's Childhood and Germany Year Zero | Film International
By Devapriya Sanyal. The two great wars of the twentieth century would change everything for humankind once and for all; both materially and spiritually. These wars formed the basis for diverse artistic depictions and found their way into various works both during the war, after the war and in peacetime when the artists could “recollect emotions in tranquility” – to borrow a phrase from Wordsworth. Of course, this recollection was not one of happy memories, but one of ravaged memories, of death, trauma and the loss of childhood innocence. I shall consider two films haunted by the memory of war: Roberto Rossellini’s Germany Year Zero (1948) and Andrei Tarkovsky’s Ivan’s Childhood (1962). Germany Year Zero The opening pan across the ruins in Germany Year Zero is combined with a voice-over that explains the objectives of the film – to depict the plight of the 3.5 million living in post-war Berlin. Edmund lives with his old father and two older siblings – a sister and a brother.
Spirit of Baraka | Celebrating Baraka, Samsara, Koyaanisqatsi and other non-verbal films
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Wim Wenders: From the American West to West Berlin: Places: Design Observer
Essay: Nicole Huber & Ralph Stern Wim Wenders, Border Crossings, and the Transnational Imaginary Image from Wim Wenders's Paris, Texas, 1984. Written in the West is the title of a catalogue of photographs exhibited by the German film director Wim Wenders at the Centre Pompidou in 1986. The catalogue contains striking images of cities and landscapes in California, Arizona, New Mexico and Texas; it closes with a photograph of "The Devil’s Graveyard," taken in Big Bend, Texas, the location of the opening sequences in Wenders's remarkable film Paris, Texas (1984). Photography makes it possible to comprehend a place right away. ... The history of photography and the "discovery" of the American West — through the lenses of explorers, photographers and cinematographers — are closely connected. Emptiness, vacancy and a camera — whether still or movie — are the starting points for our own exploration of transnationalism and the German city. Maddalena: You don’t understand, Look at those places.
Brecht and Self-Reflexive Cinema by Dana Polan
Brecht and the politics of self-reflexive cinema by Dana B. Polan from Jump Cut, no. 1, 1974, pp. In a 1940s Bugs Bunny cartoon, Elmer Fudd, once again forced by destiny and by narrative to chase Bugs, fires several times at his fleeing nemesis. "Folks, those bullets are fake; we're saving the real ones for the boys overseas." For me, this moment aptly demonstrates the attitudes an artwork can adopt towards the material world and the dynamics of history. [1] First, a distance from worldly reality, a distance inherent in art and which makes it art. To me, the two most important signs, if we may call them that, in my title are the question mark and the word "towards." In their recent manifestation, debates on these issues have generally come to revolve around a single object of inquiry: viewing. "discovery and training in the meaning of the 'simplest' acts of existence: seeing, listening, speaking, reading…" Freud, he suggests, pinpointed the dimensions of speaking, Marx those of reading.
Seth Keen PhD
September 23rd, 2014 · 2 Comments · PhD Download exegesis pdf (14.2 MB): Netvideo Nonvideo Newvideo: Designing a multilinear nonnarrative form for interactive documentary Abstract: This research explores interactive documentary and focuses on identifying how the affordances of video, computers and the network can be used to create a web of relations between shots within an interactive documentary that utilises the multilinear structure of the Internet. Key words: digital media, media practice, interactive media, documentary, interactive documentary, narrative, video, online video, design, interaction design, Internet studies Video documentation of the project artefacts available on request. Tags: interactive-documentary·practice-based research·research·video·web video
