Podcasts about experimentalfilm

On New York University Week: Witches have been fodder for horror movies for decades, but what started this trend? Vito Adriaensens, assistant professor of experimental film and media at the Tisch School of the Arts, watched to find out. Vito Adriaensens is a Belgian filmmaker and scholar, and an Assistant Professor of Experimental Film and […]

Support Night Clerk Radio on PatreonIn this episode, we're tossing the new music format out the Part 4444 2x5x6 Wall with Window so we can focus entirely on Lego Castle (1979-1998) by Dreamcastle™. This phenomenally ambitious concept album/experimental film explores childhood and nostalgia through the lens of Legos, video games, and imagination. A genre-melding experience, covering everything from dungeon synth to vaporwave to video game music and synthwave, it is a wild journey that is best viewed as a film on YouTube. Join us and check out this amazing piece of art!The FilmLego Castle: 1979-1998Lego Castle: 1979-1998

Send us a Text Message.Christian and Devin give their spoiler-free thoughts and insights into M. Night Shyamalan's latest film TRAP. A father and teen daughter attend a pop concert, where they realize they're at the center of a dark and sinister event.TOPICS IN THIS EPISODE:Start / Housekeeping (00:18)Non-Spoiler Section (07:29)TRAP Trivia (26:01)Final Thoughts and Ratings (35:07)Coming Up Next / Closing  (38:38)PREVIOUS COVERAGE OF M. NIGHT SHYAMALAN'S FILMSKnock at the Cabin Coverage OLD Coverage Contact Film Optix Rate and Review us on Apple Podcast and Spotify on your podcast platform of choice! Email us at filmoptix@gmail.com Tweet at us @FilmOptix Follow us @Film Optix on Instagram Follow us on Letterboxd Visit our Website Thank you for listening!!!

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]

On this episode of This Being Human, we speak with Alia Syed, a British experimental filmmaker whose work has been shown all around the art world for the last 25 years.Born in 1964 in Swansea to a Welsh mother and Indian father, Alia uses her film cameras to meditate on issues of subjectivity and narrative, identity and memory.Her films have been shown at numerous institutions around the world including BBC Arts Online, the Museum of Modern Art, New York ; Museo National Centro de Arte Reina Sofia, Madrid ; XV Sydney Biennale ; Tate Modern, as well as several solo exhibitions at the Talwar Gallery in New York and New Delhi.See omnystudio.com/listener for privacy information.

Filmmaker James N. Kienitz Wilkins joins moderator Tyler Morgenstern, Assistant Director of the Carsey-Wolf Center, for a discussion of Still Film. They discuss its narrative and formal structure, as well as its thematic interests in the problems plaguing contemporary Hollywood. They also reflect on the film's use of language and larger questions of cinema, memory, and nostalgia. Moreover, Wilkins discusses his use of 35mm press kit photos in the film and multiple meanings behind the term “stillness.” Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39637]

Filmmaker James N. Kienitz Wilkins joins moderator Tyler Morgenstern, Assistant Director of the Carsey-Wolf Center, for a discussion of Still Film. They discuss its narrative and formal structure, as well as its thematic interests in the problems plaguing contemporary Hollywood. They also reflect on the film's use of language and larger questions of cinema, memory, and nostalgia. Moreover, Wilkins discusses his use of 35mm press kit photos in the film and multiple meanings behind the term “stillness.” Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39637]

Filmmaker James N. Kienitz Wilkins joins moderator Tyler Morgenstern, Assistant Director of the Carsey-Wolf Center, for a discussion of Still Film. They discuss its narrative and formal structure, as well as its thematic interests in the problems plaguing contemporary Hollywood. They also reflect on the film's use of language and larger questions of cinema, memory, and nostalgia. Moreover, Wilkins discusses his use of 35mm press kit photos in the film and multiple meanings behind the term “stillness.” Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39637]

Filmmaker James N. Kienitz Wilkins joins moderator Tyler Morgenstern, Assistant Director of the Carsey-Wolf Center, for a discussion of Still Film. They discuss its narrative and formal structure, as well as its thematic interests in the problems plaguing contemporary Hollywood. They also reflect on the film's use of language and larger questions of cinema, memory, and nostalgia. Moreover, Wilkins discusses his use of 35mm press kit photos in the film and multiple meanings behind the term “stillness.” Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39637]

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Intro song: The End of the Tour (1994)5. Snail Shell (1994)4. Experimental Film (2004)3. They Got Lost (1999)2. Birdhouse in Your Soul (1990)1. Don't Let's Start (1986)Countdown Wrap-UpAlbum Rankings (Top 5)

Evan Chester is the curator and creator of the KubrickLynch YouTube channel that highlights experimental, avant-garde, and art house films. KubrickLynch currently has more than 55,000 subscribers, and Evan has close to 200 videos featuring genres, filmmakers, movements, and individual works by experimental filmmakers. I'm a huge fan of his work, and I hope you find his channel and enjoy the painstaking work he's done to collect and curate this information into one of the best YouTube channels I've ever had the pleasure of visiting. Evan's documentary style is well-paced, educational, and entertaining. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

We began the year by talking about the movies we liked the least and most from 2023. Unsurprisingly, we had little crossover with the Academy Awards but the Razzies did have some of our picks, but is that a good thing?Oppenheimer was one of the biggest movies of the year. So why did it take so long to get a Japanese release date? The answer might surprise you. We also talk about the Chinese box office and how it can affect our show in the future.The Death Tour is probably not about what you think. Screening at the Slamdance Film Festival, the documentary is about a pro wrestling tour that takes place in the Northern Territories. When it comes to wrestling, it is fairly simple to deliver a compelling product. All it takes are engaging stories and a storyline.This film definitely has interesting personalities. It has the normal tales of self-doubt and redemption found in these types of documentaries, but it also brings different stories and themes that would set it apart. Regrettably, The Death Tour makes decisions that would make it a difficult watch for even fans of the sport.Realm of Satan is already getting a lot of flack. Made in collaboration with members of the Church of Satan, the documentary is not an exploration of the inner workings of the organization. Instead, it is an experimental film that seems to be about people. It is certainly not for everyone.Due to its structure, it managed to be both entertaining and plodding. The moments that were the stereotypical view of what a Satanist is impressed us the least while the scenes that were more grounded were way more interesting. Shocking and silly, Realm of Satan is one of the most unique looks at Satanism you will ever see. Adventures in Movies! is a part of the Morbidly Beautiful Podcast Network. Morbidly Beautiful is your one stop shop for all your horror needs. From the latest news and reviews to interviews and old favorites, it can be found at Morbidly Beautiful.Adventures in Movies! is hosted by Nathaniel and Blake. You can find Nathaniel on Instagram at nathaninpoortaste. Blake can be found on Twitter @foureyedhorror and on Instagram at foureyedhorror. You can reach us personally or on Twitter @AdventuresinMo1.Music in the background from https://www.FesliyanStudios.com

Life has been catapulting us toward this moment...the episode where we lose our minds singing the praises of THE 15:17 TO PARIS with returning guest, writer and Slow Learners Podcast host John Semley! Join us for several hours of exaltant analysis of Clint Eastwood's 2018 avant garde docudrama, starring the real guys who really tackled a heavily armed shirtless man on a train. We really get into it here, folks: millennial masculinity amid the bleak futurelessness in which we've all spent most of our lives, re-enactments/non-professional actors in cinema history, and the transcendental quality of Dutch nightclubs. Listen up or we'll kick you out of Air Force sewing class! Topics include: Clint as optimistic Hill/McBride, trains, Clint making some big and unequivocally not-lazy choices, Ian invokes Bresson a bunch, millennial grammar, the supporting cast of sitcom players, major breakthoughs on Clintertextuality, and more! Follow John Semley: https://twitter.com/johnsemley3000   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

WE'RE BACK for a doozy of an episode with special guests, Kyle Carroza & Lindsay Smith, and guest-host, David Ganssle, as we talk about They Might Be Giants' music video for "Experimental Film"! Watch the toon:https://homestarrunner.com/toons/experimental-filmWatch the next episode's toon:https://homestarrunner.com/sbemails/108-pom-pomUSSHOMESTARRUNNER.COMDavid Ganssle:www.doggans.comhttps://www.youtube.com/channel/UCVkULg1iEDQkl5a3EUeEjWwhttps://twitter.com/dogganshttps://www.patreon.com/doggansKyle Carrozza: https://tvskyle.bandcamp.comhttps://twitter.com/TVsKylehttps://tvskyle.tumblr.com/https://www.instagram.com/tvskyleLindsay Smith:https://www.instagram.com/tha_linzhttps://twitter.com/ThaLinzWatch "Experimental Film - A Homestar Runner Biopic Short Film":https://youtu.be/31e9MW1aTKMEmail us: howdoyoutypewithboxinggloveson@gmail.comJoin our Discord:https://discord.com/invite/AXurs5jJoin the Pipedream Podcast Patreon:https://www.patreon.com/pipedreampodcastsFollow us on Twitter:https://twitter.com/fhqwhpodsFollow us on Instagram:https://www.instagram.com/fhqwhpods/Find more episodes and other shows at: www.pipedreampodcasts.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5773556/advertisement

CECI N'EST PAS UNE CRITIQUE | #7: Das melancholische Mädchen oder: Badewannenpenismann, singend! (Dauerspoilersendung!) Es ist sicherlich hilfreich, dass es ein verregneter Sonntagmorgen war, als dieser Text zu unserer neusten Ausgabe "Ceci N'Est Pas Une Critique" entstanden ist. Denn in der 7. Episode unterhalten sich Schlogger, Max und Stu über "Das melancholische Mädchen". Eine Verschmelzung von Essay und Experimentalfilm, Satire und sarkastischer Komödie. Ein gefundenes Fressen, sich darüber zu unterhalten, was der in 14 Kapitel aufgeteilte Film aussagen möchte. Eine Anklage, eine Verballhornung, ein Dokument gesellschaftlicher Erwartungen sowie Forderungen? Alles oder vielleicht doch gar nichts davon? Klar ist, es könnte melancholisch werden. So wie dieser Text, der sich das Wochenende ohne Regen zurückwünscht und die Freiheit auszuschlafen. Aber auch für weniger gut Ausgeschlafene unter euch gilt natürlich wie immer: Absolute Dauerspoilersendung. Ihr seid hiermit gewarnt worden. Viel Spaß mit der neuen Folge vom Tele-Stammtisch! Trailer Wir liefern euch launige und knackige Filmkritiken, Analysen und Talks über Kino- und Streamingfilme und -serien - immer aktuell, informativ und mit der nötigen Prise Humor. Viel Spaß mit unseren Besprechungen! Diese Ausgabe ist entstanden in Kooperation mit unserem Partner Cyberghost VPN. Als HörerIn des Tele-Stammtischs könnt ihr euch dort 83% Rabatt auf den Zweijahres-Plan sichern und dabei für nur 2,08 Euro pro Monat plus vier Monate gratis endlich das Maximum aus eurem Streamingerlebnis herausholen. Alle weiteren Infos dazu findet ihr unter www.cyberghostvpn.com/tstfilmkritiken. Website | Twitch | PayPal | BuyMeACoffee Großer Dank und Gruß für das Einsprechen unseres Intros geht raus an Engelbert von Nordhausen - besser bekannt als die deutsche Synchronstimme Samuel L. Jackson! Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! I used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen Folgt uns ab sofort regelmäßig live auf Twitch: twitch.tv/dertelestammtisch

Masterpiece to some, confusing mess to others. Today we talk David Lynch's feature directorial debut 1977's Eraserhead. Wild ride of a film and a perfect example of passion and art in cinema. This will be our last Indie Horror film, as the SAG strike is offically over. Always remember, In heaven, everything is fine. Enjoy!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5685939/advertisement

Akustisches Biopic · Als erste Frau und erste US-Amerikanerin gewann die New Yorker Avantgarde-Filmpionierin Maya Deren auf den Internationalen Filmfestspielen von Cannes den Grand Prix International für Experimentalfilm. Künstlerinnen und Künstler wie Anaďs Nin und Marcel Duchamp wurden von ihr gecastet. Eine Annäherung über Aufzeichnungen, Essays, Interviews und Briefe an ihr Alter Ego. // Von Ulrike Haage und Maya Deren / Mit Marina Frenk, Martina Gedeck, Robert Stadlober, Valery Tscheplanowa / Komposition und Realisation: Ulrike Haage / BR 2023

Guerrilla Metropolitana returns to discuss his new experimental and controversial feature film, "Dariuss".Dariuss trailer:https://youtu.be/IVIjNZFPxcY?si=SWtDsITNK7WAfPvQGuerrilla Metropolitana's YouTube page:https://www.youtube.com/@guerrillametropolitana4009/videosDead Harvey links:YouTube: @deadharveyInstagram: https://www.instagram.com/dead_harvey/Facebook: https://www.facebook.com/deadharveyIntro and outro music by Tony Longworth.*Indie filmmakers: visit this website for free music for your projects: http://tonylongworth.com/freemusic/.

Greetings and welcome stranger! Listen as the Abyss gang get into trouble reading a strange journal titled The Woman In the Woods by Daniel Mills. As they creepily dig into a stranger's thoughts they chat about Teenage Mutant Ninja Turtles: Mutant Mayhem, Cobweb, Solar Opposites, Daniel Braum's The Serpent's Shadow, Experimental Film by Gemma Files, Howls From Hell, Afterparty, Netflix's The Midnight Club, Renfield, Consecration, Talk to Me, Twisted Metal, and Into the Sublime by Kate A. Boorman. Did you get all that? Now, let's see what this journal says about those woods! Buy Among the Lillies by Daniel Mills

Two children wake up in the middle of the night to find their father is missing, and all the windows and doors in their home have vanished.Skinamarink trailer:https://youtu.be/APQqilSTxz0Dead Harvey links:YouTube:@deadharveyInstagram:https://www.instagram.com/dead_harvey/Facebook:https://www.facebook.com/deadharveyIntro and outro music by Tony Longworth.*Indie filmmakers: visit this website for free music for your projects: http://tonylongworth.com/freemusic/.

In today's episode we speak with filmmaker John Morena. A New York City native; born in The Bronx, migrated to Brooklyn. His films have screened worldwide including several official selections to Oscar® qualifying festivals such as Annecy, Ottawa, Hiroshima, Anima Mundi, Animafest Zagreb and the International Children's Festivals in both Chicago and New York. He is currently in production on a feature-length anthology film called Films For No One. He is also an art director and broadcast designer for television such as A&E's Cold Case Files and livestream productions including Coachella. http://www.johnmorena.com/ @JohnMorena @filmsfornoone  

Folge 26: Vor Kurzem – Ende Juni – feierte die Kunstgruppe monochrom ihren 30. Geburtstag. Das bedeutet, dass deren Mitgründer Johannes Grenzfurthner unter Berücksichtigung eines kleinen Rundungsfehlers 2/3 seines Lebens mit dem Schaffen genres*erweiternder Produktionen zugebracht hat – ohne über die Nabelschnur des geförderten Gefälligkeitskunsthandwerks alimentiert zu werden. Letzteres führt ja gerade im Bereich des österreichischen Films dazu, dass die immergleichen Regisseur- und Schauspieler:innen ihren kommerziellen Erfolg im Vor-, Mittel-, Hauptabend- und Wiederholungsprogramms suchen und finden. Die Dokusoap „Muttertag“ gilt ja als der österreichische „Groundhog Day“. Der * in den „genres*erweiternden Produktionen“ ist übrigens so etwas wie eine Fußnote, die jetzt schon in der Mitte des Textes erläutert wird. Warum auch nicht. Mit der Erweiterung des Genres zum Plural von genreserweiternd hat der Duden noch keine Freude, aber so lässt sich ganz praktisch feststellen, dass Grenzfurthner in mehreren Disziplinen des Kunstbetriebs innoviert. In jüngster Zeit widmete er sich hauptsächlich dem Experimentalfilm und folglich dreht sich diese Episode des Materie-Podcasts um Horror, Nerdkultur und die Schwierigkeit der österreichischen Filmförderung. Johannes Grenzfurthner ist seit Kurzem auch Kolumnist beim Magazin Profil.

Notes from Eremocene (Berlinale Forum, 2023) by Viera Čákanyová is an experimental documentary that delves into the future possibilities of blockchain technology and artificial intelligence. Through a captivating blend of analog footage and 3D scanner images, Čákanyová captures the clash between traditional and digital elements of contemporary society.This is her third feature, concluding a trilogy that began with her debut work, FREM (2019), followed by the documentary White on White (2020). Across all three films, she explores the same themes: artificial intelligence, a dystopian future for humanity, analog versus digital, nature versus civilization, and climate change.In a fun conversation about serious matters, this episode explores Čákanyová's artistic process, which can be solitary at times, and her approach to sound, editing, and cinematography. We also delve into the different perspectives she inhabits in each of her films and the profound questions these films raise about our existence and the future of our societies. Moderated by Aylin GökmenProduced by Christina Zachariades & Aylin GökmenFor show notes visit docsinorbit.com and be sure to follow us on social media @docsinorbit for updates.

Subscriber-only episodeCamp counselors Jackie and Greg explore the nine short films that make up Kenneth Anger's "Magick Lantern Cycle". The films discussed include: Fireworks (1947); Puce Moment (1949); Rabbit's Moon (1950/71); Eaux d'Artifice (1953); Inauguration of the Pleasure Dome (1954); Scorpio Rising (1964); Kustom Kar Kommandos (1965); Invocation of My Demon Brother (1969); and Lucifer Rising (1981). The monthly "S'mores" series is an offshoot from our main series, where Jackie and Greg explore films from the fringes of cinema, encompassing underground, experimental, cult, camp, genre, horror, and B-movies. "S'mores" episodes are unlocked by becoming either a Patron or Friend of the Show (see below). These episodes are released on the last Tuesday of each month.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxKenneth Anger1927 - 2023Get in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Moderator Peter Bloom is joined by Kim Knowles and Carrie Noland for a discussion of how contemporary experimental film represents multi-species relationships and dependencies. Together, they consider how experimental cinema can animate alternative understandings of the relations between human and non-human animals. Addressing questions of genre, style, narration, and performance, Knowles, Noland and Bloom highlight the political and aesthetic complexity of the cinematic representation of animals. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38777]

Moderator Peter Bloom is joined by Kim Knowles and Carrie Noland for a discussion of how contemporary experimental film represents multi-species relationships and dependencies. Together, they consider how experimental cinema can animate alternative understandings of the relations between human and non-human animals. Addressing questions of genre, style, narration, and performance, Knowles, Noland and Bloom highlight the political and aesthetic complexity of the cinematic representation of animals. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38777]

Moderator Peter Bloom is joined by Kim Knowles and Carrie Noland for a discussion of how contemporary experimental film represents multi-species relationships and dependencies. Together, they consider how experimental cinema can animate alternative understandings of the relations between human and non-human animals. Addressing questions of genre, style, narration, and performance, Knowles, Noland and Bloom highlight the political and aesthetic complexity of the cinematic representation of animals. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38777]

Moderator Peter Bloom is joined by Kim Knowles and Carrie Noland for a discussion of how contemporary experimental film represents multi-species relationships and dependencies. Together, they consider how experimental cinema can animate alternative understandings of the relations between human and non-human animals. Addressing questions of genre, style, narration, and performance, Knowles, Noland and Bloom highlight the political and aesthetic complexity of the cinematic representation of animals. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 38777]

Michael William West is an occult scholar, and an experimental, short, filmmaker. He has over twenty years experience in numerous Left-hand Path traditions, and currently resides in Paris. He joins Vince on the show to discuss his previous work of non-fiction, "Sex Magicians," sex magic in general, as well as his new experimental short film, "The Dream Machine," which has been showcased in multiple film festivals and, in some cases, has left audiences in stunned silence. https://michaelwilliamwest.com/https://www.instagram.com/michaelwilliamwest/https://www.youtube.com/@michaelwilliamwest7219https://vimeo.com/fiveheads

Season 3 – Episode 2: Nathan Felix – Composer, Producer, and Experimental Film Maker In this episode, we speak with Nathan Felix, a Mexican-American composer & producer known for his immersive operas and experimental films. Felix's music has premiered in Bulgaria, Portugal, Spain, Japan, China, Sweden, Denmark, Mongolia, and the United States and has been … Continue reading Season 3 – Episode 2: Nathan Felix – Composer, Producer, and Experimental Film Maker →

All this detail the Film Nerds never noticed... They're alive! On this week's episode of Revenge of the Film Nerds, BK and Jack delve into Don Hertzfeldt's animated emotional masterwork, a feature film comprised of his three short films Everything Will Be Okay, I'm So Proud of You, & the titular It's Such a Beautiful Day. Come along on a journey as the Film Nerds discuss the poignancy and resonance of the film, the core principles at play in Don Hertzfeldt's works, the exemplary use of techniques from all corners of the film world, and so much more! Celebrate the life and memories of Bill as his existence imbues the Film Nerds with some truly special emotions. An incredible experience you won't want to miss!

What if there were two dogs forever? What they still taught cursive in schools? What if they put Morbius in theaters again? None of these questions are answered on this week's episode of Funpoint!, as we talk about Car Seat Headrests' Twin Fantasy. You can only listen to this episode if you've never posted on any internet imageboard Slap City picks: "Blacklight Shine" by The Mars Volta, "Experimental Film" by They Might Be Giants. Listen to our playlist here Join us in 2 weeks when we'll discuss our next pick, Japanese Breakfast's Jubilee!

Heather Lenz interviews Marlon Fuentes about his groundbreaking film "Bontoc Eulogy." Bontoc Eulogy #Independent Film #Experimental Film #Documentary Film #ethnographic film

“Film curators definitely have the challenge of [their medium's] temporal nature. With two dimensional objects, you can easily look at them at once and figure out [how to] arrange them. But when it comes to working with a time-based medium, you really have to watch it…and maybe multiple times to understand how the piece works.” — Leslie Raymond, Ann Arbor Film Festival  At 60 years old, the Ann Arbor Film Festival (AAFF) is the longest-running independent and experimental film festival in North America. Its director, Leslie Raymond, doesn't just think about curating the best selection of experimental films each year. She also considers how the films fit into the festival's rich legacy and Ann Arbor's own cultural standing. (It's been called the “Berkeley of the East.”)It was exciting to learn about the ways film curation differs from other forms of curation and how the AAFF team turns 2,700 submissions into a tight, six-day lineup that surprises and delights audiences. Highlights, inspiration and key learnings:What's so cool about AAFFThe Ann Arbor scene and techno musicWhat does avant-garde film even mean these daysHow they decide what makes it into the festivalHow filmmakers can get a curator's attentionConversation and dialogue as part of the curatorial processWhat's unique about film curatorsHow roles as an artist and educator intersect with being a curatorWhy it's sometimes taboo for a curator to put their voice in the mixHow the films fit together as a body of workWhat AAFF teaches new film reviewersWhether Leslie still watches movies for funLeslie's culture picks

Robin Starbuck's "The Flight of a Bird Does not Scar the Sky" is an official selection and a film that was screened in The Experimental Film Fest 2021. Robin is an artist, filmmaker, professor of Experimental Film and Animation, and the current Chair of Filmmaking & Moving Image Arts at Sarah Lawrence College in Bronxville, NY. An award-winning filmmaker and artist who produces experimental nonfiction films, installations, and animated media for theatre and opera, Starbuck employs a mixture of documentary and reflexive film styles in her work. By working in a nontraditional form, she strives to create a cinematic space in which the world is perceived rather than known. In response to her work, viewers are invited to interact with what they see on the screen and to create meaning by reflecting on their own experiences, ideas, and truths. She has exhibited works at the Boston Center for the Arts, The Walker's Point Art Center, Milan Biennale, Indie Open in New York City, Anthology Film Archives, Deluge Contemporary Art & Antimatter, Collected Voices Chicago, XVI Cine Pobre Cuba, the Madrid Film Festival, the Ethnograpfia Film Festival in Paris, The Stockholm Experimental and Animation Film festival, and other festivals, art centers, and galleries in the United States, Europe, and Asia. Most recently, her film, How We See Water, was nominated for four international documentary awards at the X Short Film Festival in Rome. Starbuck is currently an active member of the Women in Animation Association. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

#240-236Intro/Outro: Mrs. Robinson by Simon & Garfunkel240. Llama by Phish (2)239. White Winter Hymnal by Fleet Foxes238. Experimental Film by They Might Be Giants (6)237. London Calling by The Clash236. Traveller by Chris StapletonBalderdash #10 answer

Jake and Ron discuss The Space Between Worlds by Micaiah Johnson. This is her first novel.Book details on Penguin Random House siteMicaiah Johnson websiteTwitter @micaiah_johnson--What Else?BBC4 "The Lovecraft Investigations"Foucault's Pendulum by Umberto EcoLimited Edition of Experimental Film by Gemma Files from Midworld PressSaint Maud directed by Rose GlassIMDB LinkThe Lodge directed by Severin Fiala and Veronika FranzIMDB LinkFirst Reformed directed by Paul SchraderIMDB LinkIt Follows directed by David Robert MitchellIMDB LinkUnder the Silver Lake directed by David Robert Mitchell IMDB LinkBridgerton TV Series (2021) Yes, its not scifi! But Ron watched it and recommends it.IMDB LinkDark Matter by Blake CrouchThe Head on HBO MaxSliders TV series (1995-2000)IMBD LinkQuantum Leap TV series (1989-1993)IMDB Link--The Wrath of the iOtiansEmail: thewrathoftheiotians@gmail.comTwitter:  @OfiOtiansWebsite: https://thewrathoftheiotians.buzzsprout.com/Music:Land Of The Me-me by Aleksandar Dimitrijevic (TONO)Licensed under the NEO Sounds Music License AgreementInterested in starting your own podcast? Jake and Ron have had a great experience with Buzzsprout. Use the following link to sign up https://www.buzzsprout.com/?referrer_id=1397515. If you sign up for a paid plan Buzzsprout will send you a $20 Amazon gift card.

Joan is a prolific and unique visual artist, and makes occultist electronic music as Temple ov Saturn. We talk about modernity, the sacred, nature, and pornography.

Pip Chodorov: Filmmaker, musician and film teacher offers his insight to the use of the term experimental in relation to cinema. Thanks to the kind people at Re:Voir in Paris, who facilitated this interview. A Selection of the filmmakers discussed in this episode: Jonas Mekas Stan Brakhage Maya Deren Ken Jacobs Peter Kubelka Jay Rosenblatt Alan Berliner Paul Sharits Robert Breer Stan Vanderbeek Len Lye Maurice Lemaitre Hans Richter Jeff Scher Critics/ Authors mentioned in this episode Scott MacDonald Visit re-voir.com

In this episode, I give you some general instructions on how to make an experimental film. For first-time filmmakers and for those first-time experimental filmmakers, this podcast was recorded with you in mind. I give you some pointers, some resources, and an assignment. Your assignment, should you choose to accept it, is to create a three-minute experimental film from Public Domain footage and Public Domain audio from archive.org and submit the link to your new film to me. I'll review the films and will interview a select few of you on this podcast to discuss the experience. There's no time limit except for the film, which is three minutes. That's your only guideline. Let's see if you can take what I've told you and the resource material and create a cool, short experimental film. You have permission to create this. Now, go and do. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

This month on The Writer and the Critic your hosts, Kirstyn McDermott and Ian Mond, have decided to look at two books honoured in the recent Shirley Jackson Awards. After some brief words about the Awards themselves, the discussion moves stealthily on to the books themselves: the winner of the Novel category, Experimental Film by Gemma Files [8:45] and the winner of the Edited Anthology category, Aickman's Heirs edited by Simon Strantzas [49:25]. Listeners might like to check out the following links mentioned during the podcast: Nina Allen's review of Experimental Film at Strange Horizons "The Strange Horrors of Robert Aickman" by Matthew Cheney at Electric Lit If you've skipped ahead to avoid spoilers, please come back at 1:33:40 for final remarks. Up for discussion on the next episode are two collections of short stories: Get in Trouble by Kelly Link What Is Not Yours Is Not Yours by Helen Oyeyemi Read ahead and join in the spoilerific fun!