“And I like the way you express yourself too, y’know, it’s pithy yet degenerate. You get many dates?”
#greatpickuplines
Special Effect is an event that fuses interactive animation and performance to channel “90 minutes of live television from a dystopian future.” Drawing inspiration from Andrei Tarkovsky’s cult-beloved science fiction film Stalker, experimental video collective Cartune Xprez called on 20 artists to create brief, animated pieces exploring the movie’s central motif: an inexplicable, mystical space called “The Zone” that grants voyagers their innermost desires.
Intrigued? Catch the US theatrical premiere at New York’s Museum of the Moving Image this coming January. If you’re not NYC-based, Special Effect will also be playing a number of dates around Australia and Europe. Or just contact the creators directly and bring the performance to you. Get the full details from their latest project update.
(via emergentfutures)
todf:
Death Valley ‘69, scanned from You Killed Me First: The Cinema of Transgression (the next set of scans will be better; it’s been one technical issue after another this week)
(via experimentalcinema)
The proverbial “really good” sci-fi movie
(Source: Amy Fletcher; Image: Clarke & Kubrick on the set of 2001: A Space Odyssey)
(via rrrick)
Letters Etc. by Jonas Mekas is a collection of letters from Jonas Mekas to friends. Printed as it was sent, typed from his home in New York, Jonas’s letters touch on many subjects. The turn of the century, mortality, and the illness of Stanley Brakhage.
Jonas is known as the Godfather of Avant-Garde Cinema, and has done projects with Ginsberg, Dali, Ono & Lennon, Maya Deren. It is truly an honor to release this booklet to the world.
Read more about Jonas HERE.
Calico Grounds #18
Edition Of 100
(via experimentalcinema)
Breathless (Jean-Luc Godard, 1960)
Fallen Angels (Wong Kar-wai, 1995)
Architect Ole Scheeren is building the world’s most insane movie theater in Yao Noi Thailand.
(via eviscerateyoungcaptain)
La societé du spectacle
1973, by Guy Debord
“A black and white film by the Guy Debord based on his 1967 book of the same name.”
(via experimentalcinema)
Three film stills from Fathomless (1964) by Jim Davis, an astonishing display of coloured light in movement. Davis worked in special kind of way - an alchemical experimentation with light - his films are edited from filmed sequences of light refracted and reflected through coloured plastic sculptural installations. Davis would focus light from the sun using a mirror (or sometimes lights), projecting the light through various translucent coloured sculpture mobiles. He would then film the light refractions as they played themselves out on a screen.
But Davis considered light to be actually substantial - he felt his films were not really psychologically abstract or physically immaterial, but were reflections of fundamental natural forces, they were, in his words “suggestive of the causal properties of nature”.
Davis also felt that there was “something sacred, secret, that no human should know or see” in these forms, which hints toward a metaphysical intuition. This connects us to ideas of the ‘light of creation’, the alchemical/cabbalistic notion of light being a primary emanation of the divine, an intermediary substance between spirit and matter. That matter, without being impregnated with celestial light, could not in fact exist. And perhaps this is what Davis intuits - light as the primal form, pre-material.
Maybe this is, indeed, fathomless.
Note: the amazing films of Jim Davis are not available online, but can be got on DVD through the BFI or RE:Voir.
(via experimentalcinema)
The First 40 (Jonas Mekas, 2006, available here)
