Podcast appearances and mentions of deborah stratman

Director Deborah Stratman joins moderator Alex Lilburn (Film and Media Studies, UCSB) for a discussion of her film, Last Things. Stratman discusses the varied ecological, geological, literary, and cinematic inspirations of the film and thinking beyond anthropic time scales. Together, they also discuss the structure of the documentary, the use of voiceover and outside excerpts, the scientific concepts explored throughout, and the research undertaken in the development process for the film. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39639]

Director Deborah Stratman joins moderator Alex Lilburn (Film and Media Studies, UCSB) for a discussion of her film, Last Things. Stratman discusses the varied ecological, geological, literary, and cinematic inspirations of the film and thinking beyond anthropic time scales. Together, they also discuss the structure of the documentary, the use of voiceover and outside excerpts, the scientific concepts explored throughout, and the research undertaken in the development process for the film. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39639]

Director Deborah Stratman joins moderator Alex Lilburn (Film and Media Studies, UCSB) for a discussion of her film, Last Things. Stratman discusses the varied ecological, geological, literary, and cinematic inspirations of the film and thinking beyond anthropic time scales. Together, they also discuss the structure of the documentary, the use of voiceover and outside excerpts, the scientific concepts explored throughout, and the research undertaken in the development process for the film. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39639]

Director Deborah Stratman joins moderator Alex Lilburn (Film and Media Studies, UCSB) for a discussion of her film, Last Things. Stratman discusses the varied ecological, geological, literary, and cinematic inspirations of the film and thinking beyond anthropic time scales. Together, they also discuss the structure of the documentary, the use of voiceover and outside excerpts, the scientific concepts explored throughout, and the research undertaken in the development process for the film. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39639]

Les films coups de coeur 2023 :AudeAnatomie d'une chute (Justine Triet, 2023)Orlando, ma biographie politique (Paul B. Preciado, 2023)Les Filles d'Olfa (Kaouther Ben Hania, 2023)Last things (Deborah Stratman, 2023)Simple comme Sylvain (Monia Chokri, 2023)BenjaminThe Human Surge 3 (Eduardo Williams, 2023)Showing Up, (Kelly Reichardt, 2022)Les feuilles mortes (Aki Kaurismäki, 2023)Une sale histoire (Jean Eustache, 1977)After Hours (Martin Scorsese, 1985)BrunoInstructions for a Light and Sound Machine (Peter Tscherkassky, 2005) Dangerous Encounters of the First Kind (Tsui Hark, 1980) Salaam Cinema (Moshen Makhmalbaf, 1995) Trenque Lauquen (Laura Citarella, 2022) The Wanderers (Philip Kaufman, 1979) 

Twenty-six years ago, for the 35th New York Film Festival, curators Gavin Smith and Mark McElhatten introduced the festival's experimental sidebar, Views from the Avant-Garde.While their inaugural program featured names like Stan Brakhage, Gregory Markopoulos, and Nathaniel Dorsky, it also opened a space where voices experimenting with cinema's language might meet new audiences. In the festival's intervening years, the vocabulary around this type of cinema evolved and Views from the Avant-Garde has since transformed, first into Projections and then into its most recent incarnation, Currents.When Currents was first announced in 2020, it was also the first year of Docs in Orbit, and every year since, it's been where we have encountered gems of the festival to bring into conversation, such as My Mexican Bretzel by Nuria Giménez (NYFF58), A Night of Knowing Nothing by Payal Kapadia (NYFF59), and Rewind & Play by Alain Gomis (NYFF60).So, for this year's edition, we decided to focus more intently on their programming to get a behind-the-scenes look at their curatorial approach. In today's episode, I sit down with the curators of Currents at the 61st New York Film Festival. Our guests are Aily Nash, Rachael Rakes, and Tyler Wilson. They put together an exciting collection of films, which we'll explore, and what sets Currents apart from other programs in New York and abroad. Moderated by Emile KleinSHOW NOTES / FILMS AND BOOKS MENTIONED IN THIS EPISODEMan in Black by Wang Bing, Last Things by Deborah Stratman, The Human Surge 3 by Eduardo Williams , Slow Shift by Shambhavi Kaul, A Prince by Pierre Creton, The Night Visitors by Michael Gitlin, The Fist by Ayo Akingbade, Nowhere Near by Miko Revereza, Live from the Clouds by Mackie Mallison, Inside the Yellow Cocoon Shell by Thien An Pham, Mangosteen by Tulapop Saenjaroen, Bold Eagle by Whammy Alcazaren , Coral by Sonia Oleniak, ALLENSWORTH by James Benning, Ungentle by Huw Lemmey and Onyeka Igwe, and Film as a Subversive Art by Amos Vogel (revised edition with new forward by Herb Shellenberger)FOR GUEST BIOS AND MOREhttps://www.docsinorbit.com/nyffImage: Film at Lincoln Center NYFF61 poster by Jim JarmuschFor show notes visit docsinorbit.com and be sure to follow us on social media @docsinorbit for updates.

On our final podcast from this year's Sundance Film Festival, FC co-editor Devika Girish talks to filmmakers Deborah Stratman, Mary Helena Clark, and Mike Gibisser about their fantastic new films, which premiered in the festival's New Frontier section. Stratman's Last Things explores the history of our universe through the point of view of rocks. She combines stunning images of rocks with interviews with a geoscientist and excerpts from various sci-fi texts—read by the filmmaker Valerie Massadian—to craft a narrative of the past and the future that decenters humans, and invites us to think beyond ourselves. Mary Helena Clark and Mike Gibisser's A Common Sequence, explores how our ideas of the commons have changed in our capitalistic, tech-driven present. The film uses three case studies: the first focuses on efforts to conserve and study the achoque salamander in Mexico, known for its regenerative properties; the second explores the use of artificial intelligence in apple picking and harvesting; and the third digs into the ways in which genetics is fast becoming a prime site for data mining.  The filmmakers joined for a wide-ranging conversation about the ideas behind their films, how they approach questions of time and perspective, and what it felt like to be an experimental filmmaker at Sundance. It turns out that Clark and Gibisser were once students of Stratman's—so the three had much to say about each other's work. Catch up on all of our Sundance 2023 coverage here: https://www.filmcomment.com/blog/category/festivals/sundance/sundance-2023/

Liturgical lullaby, canine concrète, a chess game that never ends. The Chicago-based media artist and composer talks about three important albums.Olivia's picks:Alèmu Aga – Éthiopiques 11: The Harp Of King DavidBeatriz Ferreyra – Huellas EntreveradasMorton Feldman – For Samuel BeckettHonourable mention: Kim Jung Mi – NowOlivia also mentioned another record in the Éthiopiques series: Piano Solo by Tsegué-Maryam Guèbrou.Olivia's new album, Innocent Passage In The Territorial Sea, is out now on Room40. Check it out on Bandcamp here. Her website is here.PLUS: Head over to ATTN for a premiere of the video for "Laika", directed by Deborah Stratman.Crucial Listening is taking donations on ko-fi: https://ko-fi.com/cruciallistening

This week on Bad at Sports Center: Dana and Jesse speak with Deborah Stratman about the filmmaker’s now-postponed Chicago Works exhibition at the Museum of Contemporary Art. We hear Stratman’s take on the issues inherent in screening work in a contemporary art museum and learn about her work on endlessly fascinating Chicago journalist Studs Terkel.  https://mcachicago.org/Exhibitions/2020/Chicago-Works-Deborah-Stratman http://www.pythagorasfilm.com/

In this archived edition of the True False podcast, we revisit a conversation with film-maker Deborah Stratman about the power of voice in her film "The Illinois Parables." Stratman spoke with 2016 True False programmer Pamela Cohn, and we revisit the conversation in this edition of the True False podcast.

In this archived edition of the True False podcast, we revisit a conversation with film-maker Deborah Stratman about the power of voice in her film "The Illinois Parables." Stratman spoke with 2016 True False programmer Pamela Cohn, and we revisit the conversation in this edition of the True False podcast.

In this archived edition of the True False podcast, we revisit a conversation with film-maker Deborah Stratman about the power of voice in her film "The Illinois Parables."

This week: NO NOT THE GUITAR COLLECTOR! Instead this week Duncan and Jesse talk to Deborah Stratman the artist and filmmaker.    

In this accidental ode to Drunk History, Cinemad sits down at the Creative Capital retreat with filmmakers Cam Archer (sober), Braden King (drunk) and Deborah Stratman (drunk) to talk about film, audiences, erasing art, and parking lot power. We were in between a party and a bathroom, and the mics themselves sound drunk by the end, so, yeah…. sorry about that.