Podcast appearances and mentions of James Benning

Alexander Horwath's Henry Fonda for President stands among the most notable releases of a still-young year, is certainly the most lauded essay film in recent memory, and was assuredly of personal interest when my friend Zach Lewis offered his approval. As adventurous and open-minded a cinephile as any I know, Zach has equal-parts interest in both the films of Henry Fonda and essayistic, landscape-centered cinema––some Thom Anderson or Harun Farocki come to mind with the former, James Benning the latter––in which Horwath is trading here. I couldn't have been happier to connect with him to discuss the film, and hope our chat is fruitful for you in turn.

Terzo appuntamento dal Festival di Berlino! Con Marco e Matteo.Partecipanti:Marco GrifòMatteo ArcamoneArgomenti:00:00 - All I Had Was Nothingness (Guillaume Ribot)02:18 - The Ice Tower (Lucile Hadžihalilović)12:25 - little boy (James Benning)17:14 - Reflection in a Dead Diamond (Bruno Forzani, Hélène Cattet)Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

Ep. 299: Jordan Cronk on Berlinale 2025: What Marielle Knows, new James Benning and Kevin Jerome Everson, Olmo, After Dreaming, Paul Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Look at me, I'm at the 75th Berlinale! For my latest dispatch, I spoke with a regular of the festival, Jordan Cronk, about titles from a mix of sections. Films discussed include: James Benning's latest, Little Boy, and Kevin Jerome Everson's latest, When the Sun is Eaten (from Forum and Forum Expanded, respectively); Olmo, directed by Fernando Eimbcke, in Panorama; What Marielle Knows, a Competition title directed by Frédéric Hambalek; Paul, from Denis Côté (in Panorama Dokumente); and After Dreaming, directed by Christine Haroutounian (in Forum). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Early August is usually something of a lull in the film calendar, but this year, at least in New York City, it's proved to be a goldmine—particularly for repertory programming. We had planned to record a single episode of our Rep Report series this week, but there was so much good stuff out there that we ended up recording three different conversations about three different programs, which we'll be sharing over the next few days. Stay tuned!  On today's episode, Jed Rapfogel, film programmer at Anthology Film Archives, joins Film Comment editors Devika Girish and Clinton Krute to discuss Verbatim, a new film series he's put together at the famed New York City theater. Verbatim features an exciting and wide-ranging lineup of titles, spanning features, shorts, experimental films, and made-for-TV titles that are all united by one theme: each of them makes verbatim use of a real-life transcript—be it a court document, a journalistic interview, a letter, or something else. Jed, Clint, and Devika share some of the highlights of the series, including James N. Kienitz Wilkins's Public Hearing (2012), which uses the transcript of a municipal town-hall about the expansion of a Walmart, James Benning's Landscape Suicide (1986), which recreates interviews with a pair of killers, and Elisabeth Subrin's short film, Maria Schneider, 1983 (2022), which offers three different riffs on an archival television interview with the titular actress. Verbatim runs at Anthology Film Archives through August 13. For interested viewers outside of New York City, check out filmcomment.com for streaming links to some of the featured films.

Ep. 211: Edo Choi on Killers of the Flower Moon, Janet Planet, All of Us Strangers, Kevin Jerome Everson Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. Martin Scorsese's Killers of the Flower Moon is finally out in theaters, and it's one of the films I discussed with Edo Choi, associate curator of the Museum of the Moving Image. We chatted on campus at Lincoln Center while attending the New York Film Festival, and the titles in our conversation included: Scorsese's Killers of the Flower Moon, playwright-turned-filmmaker Annie Baker's Janet Planet, Andrew Haigh's All of Us Strangers, and new work by Kevin Jerome Everson and James Benning. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

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.

Ep. 167: Berlin 2023 Six with Jordan Cronk: Hong's In Water, Forum (incl. James Benning), Mal Viver + Viver Mal, The Echo, Samsara Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. We conclude (?) with the latest and greatest from the 2023 Berlin International Film Festival. To catch up, I chat with Jordan Cronk, critic, programmer, and co-founder of Acropolis Cinema in Los Angeles. We discuss Hong Sangsoo's In Water, Forum highlights including James Benning's Allensworth, Tatiana Huezo's The Echo, Joao Canijo's two-part hotel epic Mal Viver and Viver Mal, and Lois Patiño's Samsara. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently winding down. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editor Devika Girish is joined by critics Giovanni Marchini Camia (Fireflies Press), Victor Guimarães (freelance), and Frédéric Jaeger (critic.de). Before getting into a broader conversation about German cinema at the Berlinale, the four discuss some of the highlights from the festival's waning days, including Music by Angela Schanelec, In Water by Hong Sangsoo, Bad Living and Living Bad by João Canijo, Ramona by Victoria Linares Villegas, and Someday We'll Tell Each Other Everything by Emily Atef. Stay up to date with all of our Berlin 2023 coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/berlin-2023/

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editor Devika Girish is joined by programmers Inney Prakash (Prismatic Ground) and Edo Choi (Musuem of the Moving Image) and critic Caitlin Quinlan to discuss the buzziest premieres from the festival's second half: Lila Avilés's Tótem, Lois Patino's Samsara, Christian Petzold's Afire, Philippe Garrel's The Plough, and James Benning's Allensworth.

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-deputy editor Clinton Krute sat down with writer/director Dustin Guy Defa and actor Michael Cera to discuss The Adults, which just had its world premiere at this year's Berlinale. The film tells the story of Eric, a youngish man returning for a quick visit to the upstate New York town where he grew up. As he struggles to reconnect with his two sisters, played by Hannah Gross and Sophia Lillis, his obsession with poker, and his drive to beat every player in town, keeps prolonging his stay. The nuanced performances of the three leads, along with Guy Defa's precise dialogue, pull the film off center, destabilizing what might otherwise have been a fairly familiar drama of family reconciliation. Instead, The Adults is something far stranger and resonant.

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editors Devika Girish and Clinton Krute are joined by curator and critic Antoine Thirion and critic (and former editor-in-chief of Cahiers du Cinéma) Jean-Michel Frodon to discuss some recent viewings from the festival's mid-point: Giacomo Abbruzzese's Disco Boy, John Trengove's Manodrome, Bas Devos's Here, Zhang Lu's The Shadowless Tower, Margarethe von Trotta's Ingeborg Bachmann – Journey into the Desert, and Manthia Diawara's AI: African Intelligence. Stay up to date with all of our Berlin 2023 coverage here.

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editors Devika Girish and Clinton Krute are joined by FC contributor Erika Balsom and B. Ruby Rich, Editor-in-Chief of Film Quarterly to discuss the haul of the first couple days: Paul B. Preciado's Orlando, My Political Biography, Tina Satter's Reality, Matt Johnson's Blackberry, Luke Fowler's Being in a Place - A Portrait of Margaret Tait, and Tatiana Huezo's The Echo.

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editors Devika Girish and Clinton Krute are joined by FC contributor Ela Bittencourt and Jonathan Ali, Director of Programming at the Third Horizon Film Festival. They discuss some of the recent premieres at the Berlinale, including Claire Simon's Our Body, Moyra Davey's Horse Opera, and Aaron Kaufman and Sean Penn's Superpower; Turkish retrospective selection Black Head (1979), by Korhan Yurtsever; as well as films from the Berlin Critics' Week's "Artistic Differences" program, which included Lavra dor (1968), O tigra ea gazela (1977), The White Death of the Black Wizard (2020), and The Secret Formula (1965).

We speak to British actor Ben Aldridge about his starring roles in Spoiler Alert and Knock at the Cabin, plus director Lukas Dhont on his Cannes winning film Close.

We speak to British actor Ben Aldridge about his starring roles in Spoiler Alert and Knock at the Cabin, plus director Lukas Dhont on his Cannes winning film Close.

We speak to British actor Ben Aldridge about his starring roles in Spoiler Alert and Knock at the Cabin, plus director Lukas Dhont on his Cannes winning film Close.

We speak to British actor Ben Aldridge about his starring roles in Spoiler Alert and Knock at the Cabin, plus director Lukas Dhont on his Cannes winning film Close.

Tradition keeps us centered. We need things to return to year after year, cycle after cycle. It is our light in the darkness. But sometimes, the light in the darkness is a little too bright. Hence, it is our second annual SHADESGIVING/SHORTSGIVING episode! Once again we all brought a short to the table: James Benning and Bette Gordon's THE UNITED STATE OF AMERICA, Nick Park's WALLACE & GROMIT IN THE WRONG TROUSERS, Niki Lindroth von Bahr's THE BURDEN, and Peter Tscherkassky's TRAIN AGAIN. From the charming and hilarious to the experimental and existential, we are thankful for the opportunity to share this with our listeners! Our twitter is @CannesIKickIt Our instagram is @CIKIPod Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jcpglickwebber

#Estreno #Entrevista #SofiaBrito #61LaVerdadInterior #Documental #Independiente #Argentina #Cine El próximo viernes 2 de septiembre se estrena "61. La Verdad Interior", ensayo documental y ópera prima de la actriz Sofía Brito que narra su encuentro con James Benning -un hombre vasto, de gran trayectoria en el cine-, y devela el proceso de creación de “Telemundo” (J. Benning, 2019), película hecha de manera colaborativa y protagonizada por ambos. 61.La Verdad Interior es un viaje por bosques, rutas, desiertos y llanuras estadounidenses. Un viaje en el tiempo, la vejez, la libertad, el deseo y el lenguaje. Una entrevista existencial. 61.La Verdad Interior es el encuentro enigmático entre Sofía Brito y James Benning, dos personas de mundos diferentes, que ni siquiera hablan el mismo idioma, pero que sin dudas comparten un mismo lenguaje: el cine. FUNCIONES SEPTIEMBRE: VIERNES 2 19 HS. DOMINGO 4 17 HS. - JUEVES 8 19 HS. DOMINGO 11 17 HS. - JUEVES 15 19 HS. SÁBADO 17 19.30 HS. - VIERNES 23 19 HS. DOMINGO 25 17 HS. EL CULTURAL SAN MARTÍN (Sarmiento 1551) Entradas: $200 |jubilados y estudiantes $150 En https://www.tuentrada.com o en boletería Ficha Técnica Con James Benning y Sofia Brito Equipo técnico: Guión y Dirección: Sofía Brito Producción: Florencia de Mugica, Sofía Brito Compañía productora: Bomba Cine Producción: Florencia de Mugica Montaje: Sofía Brito / Asesoría: Valeria Racioppi Postproducción de sonido: Lucas Larriera Mezcla: Atlante Postproducción de color: HD Argentina Cámara, sonido directo, animación, gráfica: Sofía Brito Si quieren invitarme un cafecito: https://cafecito.app/cineconmcfly ☕ Seguí todas las novedades del mundo del cine y los últimos estrenos videocomentados en: En Twitter: http://twitter.com/pablomcfly En Facebook: https://www.facebook.com/cineconmcfly En Instagram: http://www.instagram.com/pablomcfly

In their 2nd despatch from Wroclaw, Owen, Ralph and George cover James Benning's new structural state of the nation United States of America, Claire Denis' dodgy lockdown drama Both Sides of the Blade, David Cronenberg's speculative surgery sci-fi, Michel Franco's existential Acapulco ennui in Sundown and Hirokazu Kore-Eda's poignant road movie Broker.

Inspirational cinéaste and permanently dressed-for-Diane-Keaton-dinner Ruby Arroswmith-Todd (film curator for AGNSW) joins Jen on Movies, Movies, Movies to discuss her selection of films in the arthouse section of SFF 2022 aka FLUX: ART + FILM. You still have the chance to see The United States of America by James Benning and Dry Ground Burning by Adirley Queirós + Joana Pimenta: go to work. Ruby and Jen talk rituals for pre/post/during arthouse: maybe it's going to Timezone gaming and/or knowing when to press pause for a scroll and snack. Then a breakdown of capturing America, bullshit Bolsonaro, and did you know Ruby's schtick began with a love for Vaginal Davis? This episode is not about formalism. Ruby doesn't need a script. See omnystudio.com/listener for privacy information.

Episode 104: Berlin #3 with Jordan Cronk (The Novelist's Film, Afterwater, Coma, United States of America, That Kind of Summer, more) Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. We continue with the Berlin festival series, highlighting the intriguing new films you should know about. I joined forces with Jordan Cronk, critic (MUBI Notebook and elsewhere) and programmer (Acropolis). We discussed new films by Hong Sangsoo, Bertrand Bonello, James Benning, Denis Côté, and Darezhan Omirbaev. Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. Sometime in May or June, I had a marvelous conversation about the sky. Not just one sky, but 10 skies, in fact, with the critic Erika Balsom. Balsom wrote an insightful book about the lovely, thought-provoking landscape film 10 Skies, from filmmaker James Benning. I think I originally saw the movie at a festival in the late 2000s, and it was a pleasure to revisit. Happily I have a new occasion to make this conversation available, thanks to a screening of 10 Skies at the Open City Documentary Festival in London. But no matter the occasion, 10 Skies is a work that always rewards looking at from a number of angles, opening up questions about art and philosophy that keep shifting and turning in your head like the clouds above. Balsom's book is available from Fireflies Press. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Stalin (1992) / Stemple Pass (2012) This week we're looking for love in all the wrong places as we confront two notorious bad boys in Ivan Passer's sweeping HBO biopic of Stalin and James Benning's durational landscape portrait of the Unabomber

In the introduction to her new book on James Benning's 2004 film, Ten Skies, critic and scholar Erika Balsom writes: “there are films that present themselves as complex objects but which are in fact quite simple … And then there are films—rarer altogether—that appear simple but harbour tremendous complexity. Such is the deception, the allure, of Ten Skies—a film messier and more profuse than my immediate love for it had allowed.” Balsom joined me to talk about the book (out now from Fireflies Press) and the many-sided approach she took to writing about one of the most deceptively simple—and beautiful—films in Benning's fantastically varied body of work. We also discussed where Ten Skies fits into his filmography, the ways in which Benning plays with his own identity, how ten static shots of clouds can be a powerful political statement, and much more. Balsom will introduce a screening of Ten Skies at Light Industry in Brooklyn on July 1.

A conversation about one of Australia's finest screen actors, David Gulpilil, with the director of a new documentary about his life and work, and film scholar Erika Balsom on her beautifully written new book which examines avant-garde filmmaker James Benning's 2004 film Ten Skies.

A conversation about one of Australia's finest screen actors, David Gulpilil, with the director of a new documentary about his life and work, and film scholar Erika Balsom on her beautifully written new book which examines avant-garde filmmaker James Benning's 2004 film Ten Skies.

A conversation about one of Australia's finest screen actors, David Gulpilil, with the director of a new documentary about his life and work, and film scholar Erika Balsom on her beautifully written new book which examines avant-garde filmmaker James Benning's 2004 film Ten Skies.

A conversation about one of Australia’s finest screen actors, David Gulpilil, with the director of a new documentary about his life and work, and film scholar Erika Balsom on her beautifully written new book which examines avant-garde filmmaker James Benning’s 2004 film Ten Skies.

A conversation about one of Australia's finest screen actors, David Gulpilil, with the director of a new documentary about his life and work, and film scholar Erika Balsom on her beautifully written new book which examines avant-garde filmmaker James Benning's 2004 film Ten Skies.

Maximilien Luc Proctor finds valuable documentary insight in the experimental films of Nathaniel Dorsky, Teo Hernandez, and James Benning.

In Part 1 of this 3 part conversation Sean Grattan and Manuel Shvartzberg Carrió discuss the making of HADHAD, the relationship with the Horror genre and the influence of other film-makers and teachers on the making of the work. HADHAD (41:21 mins) Part 2: Language, Technology and Totalitarianism (26:07 mins) Part 3: The schism of Liberalism (17:24 mins) Catalogue Notes: 00:00 Welcome and Introduction from Manuel Shvartzberg Carrió 02:00 Background to making the work at CalArts in Los Angeles (2011/12). Shoot and location 04:36 Discussion of HADHAD’s high production values. Working on a budget with student labour whilst maintaining the film’s sense of horror and tension. Directing actors. 08:40 On the characters robotic personas. (MS) - “One of the ruses of the movie is that the characters may or may not already be Cyborgs… the tightness becomes a metaphor for the characters belief in the coming technological singularity…everything is stripped down to the bare essentials so there’s no room for human expression… technological determinism is so profound” 10:00 What is this movie about? How to describe what happens? (SG) Describes the plot and the tropes of a traditional horror movie "A group of people, they may be strangers, they’ve gone in vacation to some kind of isolated environment...normally in a horror movie there’s some kind of transgressions, the teenagers will be punished…" Discusses removing stylistic elements of horror and making the intruder “more absurd” 13:00 (MS) - Characters and dialogue. “You remove the emotion, which you could argue is the core of horror..the emotional reaction is what draws audience to this kind of movie…the emotion doesn’t disappear, it gets heightened…why did you so that and why is it so successful?” 15:30 (SG) - Influence of theatre, analytical thinking and English upbringing on the dialogue. "The challenge was using the analytical script on to some other kind of cinematic framework...The tension gets created from putting elements together that don’t work together cinematically in a conventional sense… there’s this kind of humanity that I can’t scrub out…” 18:30 (MS) - Talks about the film discarding emotion but being “saturated with emotion” 21:00 (SG) Talks about Directors, Theorists and Teachers that inpsired the work; David Lynch, James Benning, Claire Denis, Charles Gaines who "rewrote my story of art" . The need to create ”a philosophy that’s embodied”, discusses merging cinema and critical theory to understand “…who are humans, what are they doing, what is our method of living, what is the dynamic between power and subjectivity?” 26:07 End of Part 1

Vera Brunner-Sung is a filmmaker who uses experimental, documentary, and narrative techniques to explore the relationship between place and identity. Vera's documentary short film, Character, premiered at the 2020 Sundance Film Festival. The child of immigrants from Korea and Switzerland, Vera grew up in Ann Arbor, Michigan. Early on, her intercultural, mixed-race experience created a fluid sense of belonging that informs her work. After undergraduate work in public policy and visual art at Brown University, she moved to California to study film with Thom Andersen, Rebecca Baron, James Benning, and Betzy Bromberg at CalArts. Vera’s films, videos, and photographs have been presented at festivals, museums, and galleries in the U.S. and abroad, including Sundance, the Torino Film Festival, CPH:DOX, Leeum Samsung Museum of Art, MoMA PS1, San Francisco International Film Festival, Ann Arbor Film Festival, and Images Festival. Her first feature, Bella Vista, had its world premiere at the International Film Festival Rotterdam in 2014, and went on to win her the George C. Lin Emerging Filmmaker Award at the 15th San Diego Asian Film Festival. She is a 2015 Fellow with the Center for Asian American Media and a 2020 Sundance FilmTwo Fellow. In addition to making films, Vera is a writer and educator. Her essays, reviews, and reports have appeared in print and online publications including Sight & Sound, Cinema Scope, and Millennium Film Journal. Her chapter on the representation of site-specific art in contemporary documentary film appears in Documenting the Visual Arts (ed. Roger Hallas, Routledge, 2019). She has taught at the University of California, San Diego, and the University of Montana, and is currently an assistant professor at The Ohio State University. This episode was recorded in partnership with the Big Sky Documentary Film Festival. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

Baran Bozdağ ve Mert Sinay, Judex Sinema'nın bu bölümünde Berlin Film Festivali programını genel olarak değerlendirip en merak ettikleri filmleri yorumluyor. Bahsedilen yönetmenler: Heinz Emigholz, Jonathan Perel, Abel Ferrara, Tsai Ming Liang, Raúl Ruiz / Valeria Sarmiento, Hong Sang-soo, Ken Jacobs, Blake Williams, Lois Patiño, Joshua Bonnetta, James Benning, Anja Dornieden / Juan David González Monroy, Jia Zhangke, Margaret Honda, Ulrike Ottinger.

The Art of Sound and Image: a conversation with Maile Costa Colbert Inside the episode with Mitch Hampton: I have known Maile Colbert personally for more than a decade, originally going back to the days when I frequented Mass Art Film Society where she presented some of her very first work, including a film about artist Sophie Calle, and my interest in some of the faculty at CalArts with whom she studied, including James Benning. Maile Colbert, like so many of the guests at Journey Of An Aesthete, is an artist whose work involves the aesthetic itself, but for what it reveals about us. She is unique in that her art focuses on what I would call the textures of sensory life. She works in what is sometimes called experimental sound and does sound design for her own projects as well as those of others. She also makes film and video and has created an opera, Come Kingdom Come. She is interested in what the world sounds and looks like and what, as elements of "found" nature and created culture, the experience of our senses tells us about what it is to be human at this point in our collective history. Equally serious about and sensitive to the visuals and sounds of life, her work defies all traditional categories or genres and urges us to pay greater attention to the environment around us. Maile’s Bio: Maile Costa Colbert is an intermedia artist, researcher, and educator with a focus on audio-visual time-based media. She is currently a PhD Research Fellow in Artistic Studies with a concentration on sound studies, cinematic sound design, and its relationship with soundscape ecology at the Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, through the Fundação para a Ciência e a Tecnologia, and a visiting lecturer at the Faculdade de Belas Artes da Universidade do Porto. Her current practice and research project is titled, Wayback Sound Machine: Sound through time, space, and place (http://www.mailecolbert.com/proj-wayback.html), and asks what we might gather from listening to and sounding a past. She is a collaborator with the Portuguese art and culture organization Binaural (www.binauralmedia.org), a member of CineLab, IFILNOVA's research lab for cinema and philosophy (www.fcsh.unl.pt), and is an editor and author at Sonic Field - sonic arts, sound studies, and listening culture (http://sonicfield.org/author/mailecolbert/). She has exhibited, screened, and performed globally. For an extended look at this episode, links to artists mentioned, more about Maile, visit our show Facebook page here: https://www.facebook.com/journeyofanaesthetepodcast/ You can view, read, and listen to more of her work here: www.mailecolbert.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mitch-hampton/message

Santa Barbara homeless residents will receive more wrap-around services, but may also face tougher rules on city park behavior. One woman explores the culinary and social joys of eating out alone. The Squire Foundation partners with the Santa Barbara Public Market to bring the Short Edition Story Dispenser. The Museum of Contemporary Art Santa Barbara brings multi-media artist James Benning's show Quilts, Cigarettes & Dirt to Santa Barbara.

Menotyrininkas Ernestas Parulskis komentare apie muziejų lankomumą tvirtina, jog „jei mes ir galime su kuo nors lygintis, tai tik su Luvru, nes patys ir esame tikslus, kiekybiniu požiūriu, Luvro atspindys“.Dienraščių kultūros puslapių apžvalga.Kodėl kinematografinis laiko patyrimas yra politiškas? Kaip estetiškai gražūs kraštovaizdžiai gali nurodyti į socialiai bei ekologiškai tragiškas situacijas? Ar įmanomas ekologiškas kraštovaizdžio kinas? Pokalbis su Vilniuje pristatomos James Benning filmų programos kuratoriumi, kinotyrininku Luku Brašiškiu apie kraštovaizdį režisieriaus J. Benning kūryboje.„Teatras suteikia galimybę gyventi iš kūrybos. Deja, bet turint omenyje lietuvišką auditoriją, iš prozos pragyventi yra sunku. Tačiau teatro pasaulis tikrai ne mažiau įdomus, šiandien būti jame man patinka labiausiai. Esu įkėlęs koją į prozą, kiną ir teatrą. Būtent pastarąją aplinką myliu labiausiai“, – sako prozininkas ir dramaturgas Marius Ivaškevičius, Nacionaline kultūros ir meno premija įvertintas už drąsų literatūros žingsnį į teatrą.Ved. Austėja Kuskienė.

Menotyrininkas Ernestas Parulskis komentare apie muziejų lankomumą tvirtina, jog „jei mes ir galime su kuo nors lygintis, tai tik su Luvru, nes patys ir esame tikslus, kiekybiniu požiūriu, Luvro atspindys“.Dienraščių kultūros puslapių apžvalga.Kodėl kinematografinis laiko patyrimas yra politiškas? Kaip estetiškai gražūs kraštovaizdžiai gali nurodyti į socialiai bei ekologiškai tragiškas situacijas? Ar įmanomas ekologiškas kraštovaizdžio kinas? Pokalbis su Vilniuje pristatomos James Benning filmų programos kuratoriumi, kinotyrininku Luku Brašiškiu apie kraštovaizdį režisieriaus J. Benning kūryboje.„Teatras suteikia galimybę gyventi iš kūrybos. Deja, bet turint omenyje lietuvišką auditoriją, iš prozos pragyventi yra sunku. Tačiau teatro pasaulis tikrai ne mažiau įdomus, šiandien būti jame man patinka labiausiai. Esu įkėlęs koją į prozą, kiną ir teatrą. Būtent pastarąją aplinką myliu labiausiai“, – sako prozininkas ir dramaturgas Marius Ivaškevičius, Nacionaline kultūros ir meno premija įvertintas už drąsų literatūros žingsnį į teatrą.Ved. Austėja Kuskienė.

Movie Meltdown - Episode 330 This week we are joined by our special guest co-host Dan Rybicky, a filmmaker and professor in Cinema Art and Science at Columbia College Chicago. Dan is also the co-director of the documentary "Almost There", an unflinching look at the aging years of outsider artist Peter Anton. Dan and his co-director Aaron Wickenden enter Peter's dilapidated house to take a look at his accumulating collection of art. But before they know it they find themselves not only knee deep in an over-whelming 8-year process of shooting footage, but they also inadvertently become part of Peter's life. Which becomes even more troubling when they are forced to deal with the harsh realities of Peter's past and current existence. It's a fascinating film, and we talk with Dan about not just the film itself, but also filmmaking as a whole, and how things have changed as both a director and teacher in the new digital age. Plus we delve into some grand questions about the future and some scary realizations about ourselves. Plus as we search for the world's largest pierogi, we also mention... Grey Gardens, Martin Scorsese, voyeurism, Henry Darger, Steve James, demanding stardom, very personal stories, Robert Zemeckis, Ordinary People, talking to the camera, Richard Linklater, isolation, the invasion of the selfie-stick, David Lynch, and a lot of cats, getting roped in, blurring the lines, 5 terabytes, are we crossing a line?, Slacker, a cautionary tale, Man on Wire, I'm not a project, three dumpsters full, look around in your neighborhood, in Korea, everyone is famous, great art isn't something jammed down your throat, do you stay impartial?, the ways that people document themselves, the fine line between hoarding and collecting, the age of the selfie, James Benning, can you help other people, every culture has a dumpling, bearing witness to our lives, John Sayles, the rhythm of what his life was like, adhering to the social norms, I was an intense kid, Werner Herzog, stop talking to us and Pringles. "I'm more interested in the conversations that happen after movies a lot of times, then the movies themselves." For info on "Almost There" as well as the trailer, go to: http://www.almostthereproject.com/

Critic, programmer, and teacher Gabe Klinger isn't interested in what we know about the movies—his journey has been fueled by searching beyond the even the outskirts of the canon to many of the far reaches of cinephilia, bringing those films to light by any means necessary. In his interview with Peter, Gabe discusses his origins as a cinephile in Barcelona, his work as a programmer at a young age in Chicago, and the current state of the world film festival environment. They also discuss two major accomplishments: his co-edited volume on filmmaker Joe Dante and Double Play, a documentary that follows directors Richard Linklater and James Benning, finding the uncommon links between them. Finally, the two examine The Bowery, Raoul Walsh's pre-code historical comedy, and the unique similarities it shares between a 1900 actuality called Namo Village, which was shot in Indochina. 0:00-1:47 Opening2:57-8:27 Establishing Shots - The Lovers on The Bridge9:12-1:07:20 Deep Focus - Gabe Klinger1:10:06-1:29:11 Double Exposure - The Bowery (Raoul Walsh) with Namo Village (Gabriel Veyre)1:29:15-1:30:53 Close

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Jon Jost, Director, Producer, DP, Editor, Coming to Terms. Festival Section: Spectrum. Legendary indie American filmmaker Jon Jost talks about the death of cinema and his new film, COMING TO TERMS, which stars another iconic indie filmmaker James Benning and was presented at the 43rd International Film Festival Rotterdam. Meditation [...] The post Jon Jost – Coming to Terms #IRFF appeared first on Fred Film Radio.

Today we feature interviews with two artists: Billy Woodberry, director, Bless Their Little Hearts; The Pocketbook, both screening as a part of LA Rebellion at UC Berkeley Pacific Film Archivein Berkeley tonight at 7 PM. Visit bampfa.edu for tickets and information about the series which continues through Oct. 31. The director is flying up from Los Angeles and will be at the screenings. Billy Woodberry is an independent filmmaker who graduated from the University of California, Los Angeles Film/Television Department with an MFA in production. He has appeared in several films by Charles Burnett, Thom Anderson and James Benning. His works have screened at the Camera Austria Symposium, Harvard Film Archive, Human Rights Watch Film Festival and Museum of Modern Art. He has taught in the Art School and the Film/Video School at CalArts since 1989 and has been a member of the Board of the Film Forum, Los Angeles since 1998. Our first interview is with Navarasa Founder and Artistic Director: Dr. Aparna Sindhoor. Navarasa is at La Pena Cultural Center in Berkeley for two nights, Thursday-Friday, Oct. 11-12, 8 PM, presenting their work: Encounters. Dr. Sindhoor is a choreographer, director, actor and singer. Critics have hailed Sindhoor as a powerful voice for creating contemporary works of extraordinary artistry and works that challenge the boundaries of traditional Indian dance, yet contribute to strengthening that tradition. We feature music from the company repertoire. Music: Luisa Maita: Amour & Peace; Archie Shepp: "Arrival [Horace Parlan]."

On this week's Hear in the City, we check in with artist, educator, and bicycle activist Patrick Miller about an incident in Los Angeles that made international news last week when 11 cyclists were injured by an alleged drunk driver. And arts editor Jesse Lerner reviews James Benning's newest film titled, simpley "RR" (for railroad). Benning is a long-time figure in Los Angeles experimental film, best known for meticulous timing of 10-minute-long shots --the length of an unedited 16mm film reel-- and striking landscapes of California.

On this episode we talk about our favorite (and other noteworthy) films from this year's Toronto International Film Festival, including RACHEL GETTING MARRIED, STILL WALKING, GOODBYE SOLO, 35 SHOTS OF RUM, THE WRESTLER, SUMMER HOURS, SLUMDOG MILLIONAIRE, and CHE plus experimental films by Nathaniel Dorsky and James Benning.