Podcasts about Stan Brakhage

For Fantasy/Animation's very first look at California-born animator, writer, and independent filmmaker Don Hertzfeldt, Chris and Alex are joined by Elizabeth Cox, founder of independent animation studio Should We Studio, to discuss Hertzfeldt's influential World of Tomorrow (2015-2020) featuring the tribulations of protagonist Emily. In her role as the Senior Editorial Producer at TED-Ed, Elizabeth has written and edited the scripts for over 200 educational animated videos including “How to Avoid a Climate Disaster," a seven-part adaptation of the book by Bill Gates (supported by Gates Ventures). She also served as a science advisor on “My Love Affair With Marriage,” an animated feature film that premiered at Tribeca Festival 2021. Elizabeth recently wrote a short piece for the blog on her animated series Ada, with each episode exploring how a different technology or policy could shape the future. Topics for this episode include World of Tomorrow's distinct visual style and how underneath the series' array of hand-drawn stick figures and visual simplicity lies the staging of complex philosophical reflections; absurdist humour and links between Hertzfeldt and experimental filmmakers like David Lynch and Stan Brakhage; histories of “useful” animation and the medium's longstanding relationship to education; the contribution of art to science in the use of metaphor, humour, and analogy; and what the experimental storytelling style of World of Tomorrow has to say about the flattening of time and the malleability of memory. **Fantasy/Animation theme tune composed by Francisca Araujo** **As featured on Feedspot's 25 Best London Education Podcasts**

For the latest episode we are honoured to share a recent talk at Falmouth University's School of Film & Television by Rod Stoneman titled 'Amongst Artistic Forms of Thought'. Rod's talk discussed different and often radical uses of film form to move the art form and audience thinking into different, not literal, not factual, non information-driven places. To illustrate his talk he drew on a number of filmic examples including two different engagements with Hitchcock's work. To close the talk Rod discussed the work of his late friend Malcolm Le Grice, who had a deep association with the UK South West, as does Rod, and shared some examples of Malcolm's work to illustrate how radical, experimental and artistic (and prolific) he was, right up until his death late 2024. Here is a list of clips used, with links to more information and where possible, links to see the works -  The Phoenix Tapes (1999) dir. Matthias Muller, Christoph Girardet. Section 4, Why Don't You Love Me? (25 mins, 50 secs) It Felt Like A Kiss (2009) dir. Adam Curtis Opening 5 minutes, and the section on Enos the Chimp (from 19 mins, 25 secs) The Edge of Dreaming (2009) dir. Amy Hardie Histoire(s) du cinéma (1988) dir. Jean-Luc Godard Berlin Horse (1970) dir. Malcolm Le Grice Catch The Sun (2000) Abstract Cinema (1993) dir. Keith Griffiths Intro, with Stan Brakhage and then Malcolm Le Grice interview (34mins in) Finiti (2010) dir. Malcolm Le Grice Dark Trees (2019) dir. Malcolm Le Grice Elsewhere in the episode Dario and Neil discuss the role and place of radical forms of cinema in film culture and reflect on Rod's talk and his thinking around different ways of engaging as audiences and filmmakers with thought, form and subjectivities.    Rod Stoneman is an Emeritus Professor at the University of Galway. He was the Director of the Huston School of Film & Digital Media from 2003-15 and Chief Executive of Bord Scannán na hÉireann / the Irish Film Board from 1993-2003. Previously a Deputy Commissioning Editor in the Independent Film and Video Department at Channel 4 Television from 1983-93. He has made a number of documentaries, including Ireland: The Silent Voices, Italy: the Image Business, Between Object and Image. He is the author of Chávez: The Revolution Will Not Be Televised, Seeing is Believing: The Politics of the Visual and Educating Filmmakers with Duncan Petrie. Following Malcolm Le Grice's death Rod wrote this obituary for The Guardian. ---------- Visit our Patreon at www.patreon.com/cinematologists ---------- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. ---------- Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing.

Today, we look at some of the great "pure cinema" movies with little to no dialogue. Now listen-dialogue is great. Dialogue is cinematic. But to scale the heights, a moviemaker needs to know how to communicate cinematically (image + sound) without using dialogue as a crutch to convey information. Secret Movie Club founder.programmer Craig Hammill looks at F.W. Murnau's 1924 masterpiece The Last Laugh (with only two intertitles for the entire movie), avant garde master Stan Brakhage's The Act of Seeing with One's Own Eyes, Ron Fricke's 70mm essay movie Baraka, the incredible Ukranian movie all in sign language The Tribe, and Phil Tippet's stop motion mind blower Mad God as examples of movies whose power comes from their commitment to what Alfred Hitchcock called "pure cinema". 

ESPECIAL “HORRORES ESTÉTICOS”“O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa quota de maravilhamento com a narrativa audiovisual.Episódio de hoje: Uma poética da autopsia (“The Act of Seeing with One's Own Eyes”, de Stan Brakhage)Filme citado: “The Act of Seeing with One's Own Eyes” (1971), de Stan Brakhage.Conheça HORRORES ESTÉTICOS: https://www.catarse.me/horroresEntre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

In episode 26 of Locust Radio, Adam Turl is joined by Omnia Sol – a comic, video, and sound artist in Chicago. This episode is part of a series of interviews of current and former Locust Collective members and contributors. This series is being conducted as research for a future book by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a cybernetic Anthropocene. The featured closing music / sound art, “Overview” and “Wilhelmina,” are from Omnia Sol's forthcoming vs. Megalon. Check out their bandcamp. Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl. Related texts and topics: Arte Povera; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Michael Betancourt, Glitch Art in Theory and Practice (2017); William Blake; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Stan Brakhage ; Bertolt Brecht - see also Brecht, “A Short Organum for the Theater” (1948);  Cybernetic Culture Research Unit; Mark Fisher, “Acid Communism (Unfinished Introduction)”; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Scott Dikkers, Jim's Journal (comic by the co-founder of the Onion); Dollar Art House; Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014); Mark Fisher, K-Punk: The Collected and Unpublished Writings of Mark Fisher (2019); Flicker Films; Fully Automated Luxury (Gay) Space Communism; Glitch Art; Jean-Luc Godard; Grand Upright Music, Ltd. vs. Warner Brothers Records (Biz Markie) (1991); William Hogarth; Tamara Kneese, Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond (2023); Holly Lewis, “Toward AI Realism,” Spectre (2024); Karl Marx, The Communist Manifesto (1848); Nam June Paik and TV Buddha; Harvey Pekar (comic artist); Gregory Sholette, Dark Matter: Art and Politics in the Age of Enterprise Culture (2010); Grafton Tanner, Babbling Corpse: Vaporwave and the Commodification of Ghosts (2016); TOSAS (The Omnia Sol Art Show); Nat Turner; Wildstyle and Style Wars (1983 film); YOVOZAL, “My Thoughts about AI and art,” YouTube video (2024)

Philosopher, Simone Weil said that attentiveness is the heart of prayer. In this episode, we discuss postures of attentiveness as gateways to wonder.Guests: Dr. Mary McCampbell is an author, educator, and speaker whose publications span the worlds of literature, film, and popular music. She is the author of Imagining Our Neighbors as Ourselves: How Art Shapes Empathy.Dr. Joe Kickasola is a Professor of Film and Digital Media at Baylor University. He is the author of The Films of Krzysztof Kieślowski: The Liminal Image, and has published in numerous academic venues and anthologies, including Film Quarterly, The Quarterly Review of Film and Video, and The Routledge Companion to Philosophy and Film. _____Topics: Attentiveness, cynicism, receptivity, humility, consumerism, experiencing wonder during times of upheaval, Art Forms: filmmaking, photography, literature. Name Drops: Douglas Copeland, G.K. Chesterton, Jim Jarmusch, Terrence Malick, T.S.Eliot, Wallace Stevens, Andrei Tarkovsky, Andrey Rublev, Rothko, Stan Brakhage, Virginia Wolfe, David Foster Wallace, Movie References: Patterson, Tree of Life, Zabriskie Point Support The Podcast! We need your help to continue our work of advocating for the arts.Join our creative collectiveGive a one-time donation

We finish up A Hollis Frampton Odyssey this week, covering work from his Magellan cycle, a massive project Frampton was working on when he died. While previously discussed works like (nostalgia) show Frampton's ironic detachment, Magellan melds the history of film and Frampton's life story in a way that feels sentimental. These works also often seem to be in conversation with Stan Brakhage in a way we haven't seen from Frampton before (but then that might just be "Guys who have only ever seen Stan Brakhage watch another avant-garde film").

Crazy, it is certainly that - and more. If you enjoy slasher horror, we think you'll love this - and its definitely not for U18s! The film is by Toaster and is a music video for Code Mistake, a deathcore metal spectacular by CORPSE and Bring Me the Horizon. We examine Toaster's GTA5 machinima, reflect on its anime qualities, and conclude its significantly better than the official music video: Ricky discusses it in the context of Stan Brakhage's Dog Star Man, but Phil, Tracy & Damien feel the inspiration is much closer to home.1:29 Ricky's introduction to the film, how it reminds him of avant-garde machinima and the work of Stan Brakhage – wishing we could go back in a time machine to show the early machinima community!7:11 The official music video uses anime and fantasy horror, vs the machinima video using GTA5 which results in a different type of horror representation13:00 Deathcore, production quality, edits, unleashed chaos – the energy is outstanding. To what extent are we desensitised to the gore in the film?19:56 Strong fit between visuals and the music. The creator's evident enjoyment in making the film shines through23:26 Reflecting on Manhunt – highly controversial in its day, hyper horrorCredits -Speakers: Ricky Grove, Phil Rice, Damien Valentine, Tracy HarwoodProducer: Damien ValentineEditor: Phil RiceMusic: Animo Domini Beats

"A cosmological epic" Producer and artist Ben Hosley (Black Check, Congratulations, Slow X-Mas) returns to the show, this time to discuss Stan Brakhage's historic series of experimental films, Dog Star Man. We take a cosmic journey through the snowy mountains of our minds to try to get to the heart of the elusive and evocative imagery.See our full episode with Ben Hosley on our YouTube channel: https://youtu.be/kQVKj6IDv1gSee the full Dog Star Man for free on our YouTube channel: https://youtu.be/imzHokGF6Ic Hosts:Michael NataleTwitterInstagramLetterboxd Tom LorenzoTwitterInstagramLetterboxd Producer:Kyle LamparTwitterInstagram Guest:Ben HosleyBlank Check with Griffin and DavidCongratulationsSlow X-Mas Follow the Show:TwitterInstagramWebsite Music by Mike Natale

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.

Michael M. Pessah, ASC and Buddy Squires, ASC talk about the art, history, and current practices of documentary filmmaking.

In this episode, we review one of the first avant garde machinima pieces created by the community.  The film is called 9, by German machinimator Claus-Dieter Schulz, has been restored by Phil and is re-presented on his Machiniplex Remastered channel. It is a notable example of modernist cinema which moves towards abstraction and it is clear to see that Claus-Dieter was inspired by the likes of Oskar Fischinger, Hans Richter and Stan Brakhage.  There were very few in the early days of machinima that turned in this creative direction, where most creators were instead inspired to devise original stories inspired by popular films, TV series, commercials and products, so our discussion reflects on this point as well as the early reactions to the work we recall.Speakers: Phil Rice, Ricky Grove, Tracy Harwood, Damien ValentineProducer: Phil RiceEditor: Ricky GroveMusic: Anno Domini Beats

Full episode at patreon.com/thicklinespod. Katie is joined by Gilbert Hernandez (Love and Rockets) for a rundown of his must-watch Halloween horror (aka monster) movies. Topics discussed include Georges Franju, Stan Brakhage, Jonathan Glazer, Yorgos Lanthimos, “prestige” horror, Mario Bava, Andrzej Zulawski, Twilight, The Twilight Zone, The Naked Cosmos, and lots more! Thanks to our Patreon subscribers for making this episode possible. Happy Halloween!

As part of our final season wrap up on Alfred Hitchcock director of the year, we look at Hitchcock's late career advice to film schools to make sure that young filmmakers knew how to tell their stories visually/cinematically without needing to rely on dialogue. SMC founder.programmer Craig Hammill talks about how this approach has come to mean for him the goal of "an idea in every shot". Today we talk about examples from Murnau's The Last Laugh, Renoir's La Chienne, Stan Brakhage's The Act of Seeing With One's Own Eyes, Coppola's The Godfather I baptism cross-cutting scene, Kurosawa's High and Low among other movies to show how production design, framing, editing, cross-cutting, "gags" can all become tools in the tool box to communicate cinematically. 

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.

In this episode of the Musicbed Podcast, Drea provides a behind-the-scenes look at Sundance from a programming POV and what filmmakers need to know about submitting their films. Programmer/producer Drea Clark has been a fixture of the festival circuit for almost 20 years, serving at Sundance Film Festival, the LA Film Festival, Slamdance Film Festival, and more. She's also produced three features, music videos, web series, and a TV pilot directed by Charlie Day. Talking Points: The importance of original, consistent storytelling A-list talent isn't always an advantage Art is subjective and so is rejection Submit a short over a proof of concept No one's buying your excuses for bad sound A good programmer finds filmmakers to champion Show Notes: Slamdance Film Festival – https://slamdance.com/festival/ Sundance Film Festival – https://festival.sundance.org/ LA Film Festival – https://www.filmindependent.org/la-film-festival/ Bentonville Film Festival – https://bentonvillefilm.org/ Napoleon Dynamite (2004) – https://www.imdb.com/title/tt0374900/ Damien Chazelle – https://www.imdb.com/name/nm3227090/ Whiplash (2014) – https://www.imdb.com/title/tt2582802/ Chanshi – https://festival.sundance.org/program/films/indie-episodic IndieGoGo – https://www.indiegogo.com/ Kickstarter – https://www.kickstarter.com/ Kim Yutani – https://www.linkedin.com/in/kim-yutani-aaba3520a Catalyst Films – https://www.catalyst-films.com/ Directors Lab – https://directorslab.com/home/ Ann Arbor Film Festival – https://www.aafilmfest.org/ Ain't Them Bodies Saints (2013) – https://www.imdb.com/title/tt2388637/ David Lowery – https://www.imdb.com/name/nm1108007/ Ben Foster – https://www.imdb.com/name/nm3244731/ Strawberry Mansion (2021) – https://www.imdb.com/title/tt11398346/ Kentucker Audley – https://www.imdb.com/name/nm2310589/ The Killing of Two Lovers (2020) – https://www.imdb.com/title/tt10702148/ Film Independent Spirit Awards – https://www.filmindependent.org/spirit-awards/ Aftersun (2022) – https://www.imdb.com/title/tt19770238/ Stan Brakhage – https://www.imdb.com/name/nm0104132/ Brought to you by Musicbed, the filmmaking industry's music licensing platform of choice. Learn more: ⁠⁠musicbed.com⁠⁠. About Musicbed:Musicbed is the leading sync licensing platform for authentic music from relevant artists. We're a one-stop licensing agency representing a curated roster of authentic artists, bands, and composers for film, TV, and advertising. From leading composers to tour-tested bands, and rising singer/songwriters, we believe music brings emotion and has the power to amplify your story.

Jared is joined by guest Colin Takasawa to identify the ten best foreign, indie, or avant-garde movies of the year and discuss a handful of other notable titles. 2023 has a lot to offer: confident directorial debuts, gems from young masters, and two films that evoke the work of Stan Brakhage!

Jen Dean is a NY-based commercial editor and mother with a sharp eye, a quick wit and a love for Texan psych rock. After studying under Stan Brakhage she got her start at Lost Planet as Hank Corwin's assistant, eventually moving on to cut her own award-winning projects from fashion to comedy to docu style and everything in between. She's an editor's editor and has been in this edit world for long enough to be known and respected by anyone and everyone who's also been around long enough to know anything.  When I began this podcast and the accompanying instagram I reposted an image of Thelma Schoonmaker on the IG and multiple people, including former guest Kimmy Dubé, quickly responded that the woman Thelma was with was also a legend herself, Jen Dean. So I swiftly got Jen's contact and tried and failed to land an interview for many months and then the conversation drifted away; so Jen was my white whale for this season and I couldn't close it out without her. And I'm so glad she was finally able to make time for me because we had a great chat.  For more information and supplemental video clips visit cuttingclass.fm Connect with us on IG @cuttingclassediting Questions, Comments, Criticism: cuttingclassediting@gmail.com Cutting Class is produced, hosted & edited by John McSwain --- Support this podcast: https://podcasters.spotify.com/pod/show/cuttingclass/support

The second half of our Barbenheimer double bill takes us to the BFI IMAX in London to see Oppenheimer, the complex story of J. Robert Oppenheimer's infamous role in the development of the atomic bomb during World War II, the creation and use of which changed history. Writer-director Christopher Nolan, as he has done increasingly over his career, makes extensive use of IMAX 70mm film to tell the story, but as well the spectacle and landscape we're used to it showing off, here it's devoted to the intimate. We're joined by Mike's brother and previous guest Stephen to discuss the film, and consider the use of IMAX for close-ups and portraiture, as well as the story's structure and how the editing and music create pace, the film's implicit attitude towards Communism, whether Florence Pugh is treated unfairly, the way in which black-and-white footage is used to convey a shift in perspective, how the attacks on Hiroshima and Nagasaki are handled, the Stan Brakhage-esque imagery that conveys the radical sense that all matter is energy waiting to be unleashed, and much more. For José, it's Nolan's best film. It certainly deserves to be seen on an IMAX screen. Recorded on 23rd July 2023.

Happy (continued) Pride Month! This week Amelia talks about the importance of "Bob Damron's Address Book" to pre-Stonewall gay culture, and Scotty continues his exploration of the life and work of author, filmmaker, queer icon, and shameless Hollywood gossip-monger Kenneth Anger. To read Anger and filmmaker Stan Brakhage's cuckoo-bananas correspondence, go to: https://www.desistfilm.com. This podcast is powered by Pinecast.

This week, Doug finds himself herded into the so-called New Atlantis Sweat Lodge, and things are about to get… dramatic.If you'd like to listen and/or read all the way to the conclusion of APOCALYPSE ROCK you can buy the audiobook through Audible (CA/UK/US) and the ebook on Kindle (CA/UK/US)

Ep. 169: Synecdoche, New York with Michael Joshua Rowin, plus Brakhage, Resnais, Duras Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. I've been hosting a screening series recently called New Essentials at the Roxy Cinema in New York. This weekend I'm presenting Charlie Kaufman's directorial debut feature, Synecdoche, New York (2008), the sprawling story of a playwright (Philip Seymour Hoffman) attempting to stage a truly world-sized drama while navigating his wrecked personal life. For the latest episode, I discuss Kaufman's rich and strange and funny movie with critic Michael Joshua Rowin, who wrote about it for Reverse Shot. We also compare notes on the last things each of us has seen, including films by more adventurers in subjectivity: Stan Brakhage, Alain Resnais, and Marguerite Duras. 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

Pour ce nouvel épisode, nous accueillons l'enseignante-chercheuse, critique et programmatrice Alice Leroy, dont la plume est présente sur internet et dans les kiosques, notamment dans les pages des Cahiers du cinéma ou de Panthere Premiere. Du cinéma le plus expérimental de Stan Brakhage, Daïchi Saïto ou Barbara Rubin, aux séries les plus cultes (« The twilight Zone »), Alice Leroy nous emmène au coeur des films qui ont formé sa cinéphilie, avec précision et passion. Elle évoque la filmographie trop méconnue de la cinéaste Angela Schanelec, celle tous azimuts de Peter Watkins, ou encore celle, refuge, de Jonas Mekas - et ce faisant, elle dresse le portrait d'un cinéma en quête d'utopies. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 4'55 Des corps au cinéma : Fantomas (Louis Feuillade, 1913) Une foule au cinéma : celle de communards dans La commune (Peter Watkins,2000 ) - 9'47 Des territoires de cinéma : Earth Earth Earth (Daïchi Saito, 2021), Dog Star Man (Stan Brakhage, 1961-1964) - 15'41 II. CIRCONSTANCES & CONDITIONS DE VISIONNAGE - 19'24 Des films longtemps fantasmés : Candy Mountain (R. Frank, R. Wurlitzer, 1987), Running on empty (S. Lumet, 1988) III. MEMOIRE & SOMMEIL - 27'22 Un fantôme de cinéma qui hante Alice : Etienne Gaspard Robertson et ses fantasmagorie au 18è siècle CARTE BLANCHE - 32'50Des places dans des villes (Angela Schanelec, 1997) TRANSMISSION - 41'57 Un film à montrer aux Aliens : La série « La quatrième dimension » (Rod Serling, 1959-64) - 41'57 Un film pour « faire corps ensemble » : Christmas on earth (Barbara Rubin, 1963) - 47'50 REFUGES - 54'01Lost lost lost (1976) et Walden (1968) de Jonas Mekas EXTRAITS Candy Mountain (R. Frank, R. Wurlitzer, 1987) California, Joni Mitchell ; WMG (au nom de Warner Rhino Off Roster-Audio) The Twilight Zone : générique Walden (J. Mekas, 1976); éditions Re:voir CRÉDITSPatreons : un grand merci à Paul, Corentin, Irène, Dominique, Bernard et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

It's been a long and strange journey, but Doug and Bear have finally arrived at the pub. It's time to get a brew and chill out — and catch up on all the gossip about the mysterious international tech corp that's been funding the new age retreat up Costo…

En Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h). The Who anuncian una única fecha con orquesta en España. Los espectáculos europeos siguen la aclamada gira de la formación “The Who Hits Back” por Estados Unidos, que finalizó en noviembre de este año. La organización del Leeds / Reading Festival ha desvelado el cartel de su edición 2023 (The Killers). Primeras confirmaciones del Mad Cool 2023 (Liam Gallagher). Festivales: Temples, Second o Iván Ferreiro, entre los nuevos confirmados para WARM UP Estrella de Levante 2023. Sin previo aviso Little Simz ha publicado este lunes su nuevo álbum, ‘NO THANK YOU'. El sucesor del aclamado ‘Sometimes I Might Be an Introvert', por el cual Simz ganó el Mercury Prize este año, ya está en la calle desde hoy mismo. Los iconos indie Razorlight han lanzado 'Razorwhat? The Best Of Razorlight'. "RAFFAELLA con Cristiano Malgioglio" es la nueva versión del hit de VARRY BRAVA que será la cabecera de un conocido programa de RAI2. Meterse en el mundo de rebe es entrar en un universo peligroso, pero encandilante, brumoso y dulce, incómodo y perturbado. Cada nueva canción es como uno de esos pecaminosos secretos de estado que sólo unos pocos afortunados conocen. Y el último está dentro de “hasta el fin…”, canción que ha producido ella misma y que ha arreglado OTRO (Aaron Morris). J se ha sumergido en la filmografía rodada por Zulueta entre los sesenta y los setenta, y también ha buceado en documentos personales, dibujos y polaroids, además de los testimonios de las escapadas del artista a Berlín y Nueva York, Marruecos e Ibiza. En Natalia Dice comienza el viaje hacia la pieza Te Veo desarrollada por la Filmoteca Española junto a cineastas underground como Jonas Mekas y Stan Brakhage, además de los argentinos 107 Faunos y Srta. Trueno Negro. Surfin Bichos publicará su primer trabajo nuevo tres décadas después de la mano del ya ilustre sello Sonido Muchacho. HAVALINA adelantan 'DECONSTRUCCIÓN' de su próximo album 'MAQUINARIA. "El Faro Verde" es el segundo sencillo de Veneziola, trás "Jesús no ha llegado". Una canción que habla de su propio proceso de creación.Tras la victoria en el certamen CreaMurcia en la categoría de canción de autor, Ana Cano estrena su nuevo single “Difícil De Querer”. Último adelanto presentado con un videoclip, previo a lo que será su segundo EP tras el celebrado “Podemos Ser Amigos”.El dúo de shoegaze Hammock anuncian Love in the void, su nuevo disco, con el delicado eco de "untruth" y de "god's becoming memories", melancólico doble adelanto. Rokka es una nueva banda de rock alternativo con raíces americanas, creada a raíz del confinamiento por Pepe Moreno (guitarrista de Acequia, Farmacia de Guardia, LaMetro…), que volvió a componer canciones y juntó a viejos amigos para debutar con “El Viaje Experimental”: contiene quince temas en los que canta Emilio Martinez ChicheriEmilio Chicheri con el acompañamiento de la última formación de Los Trotacarreteras (Fiti Espejo, Paco Moya, Pedro Casanova) Lo presentan este martes en la gala de entrega de los Premios de la Música RM. Hablamos con Pepe Moreno y Chicheri, que recibirá el Premio Leyenda de la Música Murciana. Y estrenamos el nuevo villancico de The Yellow Melodies , que aparece en un recopitaorio inernacional

We're back with another double feature of short films…and while they're both original in their storytelling, their executions could not be more different. Join the guys at 1001 by 1 this week as they discuss Stan Brakhage's “Dog Star Man” and Chris Marker's “La Jetee”, do a little delving into the world of Gaspar Noe, and yes – even tackle the recent “Synder Cut”. Also, this week Ian recommends the short film “More” (available on YouTube) and Adam recommends “Synchronic” (available for free on Hoopla). 0:00 – Intros/Gaspar Noe & “Enter the Void”/CineFix Top 5 Original Films 10:52 – “Coming 2 America” and Eddie Murphy 13:22 – The Snyder Cut 19:54 – “Ghost Dog: The Way of the Samurai” 24:37 – Ian's recommend “More” 26:55 – Adam's recommend “Synchronic” 32:28 – “Dog Star Man” 50:56 – “La Jetee”

Our experiment of walking through Stan Brakhage, An Anthology Volume Two at a reasonable pace comes to an end this week. After our rush through Volume One years ago we had liked Brakhage, and now after spending so much more time with him, well...we definitely still love his work, but here's hoping it's another few years before Criterion puts out Volume Three. This week we cover films from the last years of Brakhage's life, including what he was working on when he passed away. And we finally get a behind-the-scenes look at Brakhage filming in "For Stan", a bonus feature short film from Brakhage's wife (and editor of this anthology) Marilyn Brakhage.

In this first part of a 2-part series, we discuss the early life of Kenneth Anger. Born in Santa Monica, California in 1927, Kenneth was a queer film-maker who idolized Aleister Crowley. He was at the cutting edge of counter-culture, capturing the zeitgeist of gay culture, occulture, and hippie culture. He made films that would inspire film makers from Stan Brakhage to John Waters, establishing his place as the king of mid-20th-century underground film.  

Avant-garde cinema found an unlikely home in the Pittsburgh neighborhood of Oakland. DIY screening events at the Crumbling Wall and New Cinema Workshop led to Sally Dixon founding the Film Section at the Carnegie Museum of Art. Throughout the 1970s and for decades after, filmmakers like Stan Brakhage, Carolee Schneemann, Hollis Frampton, and Werner Herzog visited the city, screening their films and lecturing about their work. This is the story of the Film Section.

This week's selection of Stan Brakhage films has works from 1982, 1992, and 1994, all multi-media, mixing many of the Brakhage "genres": painted frames, manipulated photographic images, layering. We also get another with a soundtrack from Rick Corrigan, and one with probably the most on-screen (and almost legible!) text of any Brakhage film at all.

By Brakhage Volume Two Program 4 is totally dedicated to Stan Brakhage's 1989-90 four film cycle Visions in Meditation. Inspired by Gertrude Stein's Stanzas in Meditation, the films take us on a journey into a meditative state, working better as a complete work than as four individual pieces. This is the only complete cycle of Brakhage's work in the Criterion sets, despite other films drawn from cycles being included in Volume Two.

For By Brakhage: An Anthology, Volume One many years ago we tried to do the whole set in a single episode like we were trying to get the new world record for getting through the Louvre the fastest. These are art films, so for Volume Two we're taking our time to appreciate them and dedicating an individual episode to each of the six "Programs" that Criterion breaks the set down into. This is episode two, covering Program 2 including Stan Brakhage's Scenes from Under Childhood, Section One (1967), Machine of Eden (1970), Star Garden (1974), and Desert (1976).

Many years ago Criterion served us up By Brakhage: An Anthology collecting a nice cross section, or so we thought, of the works of experimental American filmmaker Stan Brakhage. We're back with Volume Two and a much wider cross section of the man's work, including styles of piece completely missing from Volume One. Back then we tried to talk about 26 Brakhage films in a single episode. It was a foolish thing to attempt. This time we're swinging the pendulum the other way and taking the set week by week with Criterion's "Program" subdivisions of the 30 total films. It means only covering about 4 films and about 1 hour of material each week for six weeks, but it also means maybe actually intelligently talking about any individual Brakhage work.

Hi-tech gizmos and body parts washing ashore, eccentric newcomers building retreats in the remote forests, break-ins and attacks. Things are building up for sleep-deprived and over-prescribed Doug Shasta.This week on APOCALYPSE ROCK it's time for the Town Hall meeting, bringing together the local community of old-timers and green horns alike, to discuss — in the most sleep-inducing ways — local news, views and plans. But sometimes we're our own worst enemies. And other times nature calls, screams, howls…Hit play above to listen, or scroll down to read, but either way, I hope you enjoy.

This week we have a special treat for listeners: a conversation with avant-garde filmmaking legends Nathaniel Dorsky and Jerome Hiler, and programmer and Light Industry co-founder Thomas Beard. Thomas, along with Film at Lincoln Center programmer Dan Sullivan, has curated New York, 1962–1964: Underground and Experimental Cinema, an upcoming series spotlighting the rise of what Jonas Mekas described as the "New American Cinema." Opening on July 29, the series takes place in conjunction with related programs at the Jewish Museum and Film Forum. In a wide-ranging conversation about a pivotal moment in American film history, Dorsky—whose Ingreen (1964) screens as part of the FLC series—and Hiler regaled us with anecdotes about their partnership in life and filmmaking, the state of moviegoing and movie-making in the New York of the '60s, and the culture-shifting exploits of Jonas Mekas, Gregory J. Markopoulous, Stan Brakhage, Bruce Connor, and others. We also chatted about Hiler's fascinating in-progress film about medieval stained glass, "Cinema Before 1300," and a new book, Illuminated Hours. Nathaniel Dorsky and Jerome Hiler, which was published in Spanish earlier this year and will be available soon in English.

In this episode, Ray and I discuss: ∙Early discovery of esoteric transitioning including astrology ∙Break through meditative experiences with his spiritual teachers ∙Intellectuals history of astrology  ∙A symbolic world view, how we lost it, why we need it ∙How does the cosmos impact the psyche? ∙The Great Saturn-Jupiter conjunction of 2020 that ushered in the pandemic ∙Planetary causal effects vs synchronicity ∙“The universe is composed of stories not atoms” ∙Destiny vs free will in your horoscope ∙The relationship between psychology and astrology  ∙The Great Year, precession of the equinoxes and the Yuga cycle ∙Hallmarks and shadow of the Aquarian Age  ∙Individual rights, power to the people, and the rise of narcissism ∙The war in Ukrainian and the the United States undergoing its Pluto return  ∙The rise of fascism and facing the legacy of racism   ∙Ray's biggest lesson after 50 years of practice. RAY GRASSE is a Chicago-based writer, musician, photographer, and astrologer. He is author of eight books including Stargates, The Waking Dream, Signs of the Times, and his most recent opus When the Stars Align. Ray received a degree in filmmaking from the Art Institute of Chicago under experimental film pioneers Stan Brakhage and John Luther-Scofill. He studied with various esoteric teachers in both the Kriya Yoga and Zen traditions. He's lectured extensively on the topics of astrology, synchronicity, and mythology, and maintains an active astrological practice with clients around the United States and abroad.  I discovered Ray's work in 2019 as I was preparing for my class Return with Elixir, and enjoyed tremendously his lecture series titled Secrets of the Esoteric Traditions on Youtube. Ray's website: https://www.raygrasse.com Ray's New Book, When the Stars Align: https://www.amazon.com/When-Stars-Align-Reflections-Astrology/dp/0578394383 Ray's YouTube lecture series, Secrets of the Esoteric Traditions: https://www.youtube.com/playlist?list=PLgd5q-JA8xpJtWu28QgcRxeJWtpKltPD8 *** The Wisdom Keeper Podcast is available on Apple Podcasts, Google Podcasts and Spotify CONTEMPLATIVE STUDIES PROGRAM Courses, Community and Buddhist Pilgrimage https://www.gradualpath.com/ 25% off all courses with coupon code WISDOMKEEPER More about Dr. Miles Neale on his website https://www.milesneale.com/ Follow Miles Neale on Instagram https://www.instagram.com/milesneale/

On this week's “Experimental Edition” of Unwatchables we welcome Tim Peyton, the manager/director of Rubicon Cinema in Akron, OH, to help us dive into some of the most alienating corners of avant-garde filmmaking. First up is Stan Brakhage's 1965 experimental touchstone Dog Star Man, followed by E. Elias Merhige's 1989 gruesome horror curiosity Begotten. We discuss how non-narrative films challenge our basic assumptions about film grammar, what makes one work of unconventional abstraction “work” better than another, and whether Begotten is just gross nonsense. Unwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus. You can support us on Patreon at https://www.patreon.com/unwatchables to get access to exclusive bonus content and weigh in on what we watch next. Find us online at www.unwatchablespod.com or shoot us an email at unwatchablespodcast@gmail.com. We're on Instagram and Twitter under @unwatchablespod. --- Send in a voice message: https://anchor.fm/unwatchablespod/message

In our first face to face interview in a long time, we talk to New York based filmmaker Mark Street. In his artist statement Mark says, “My work ranges from abstract hand-manipulated pieces to work that involves found footage, to feature length improvised narratives. Each film attempts to investigate new terrain, and avoids being confined by a specific look or mood.” The idea of not being confined was a recurring theme in our chat, we also discuss working with found footage, his adventures using Super 8mm film, and of course, Stan Brakhage who you will hear from at the top of this episode. Information, images and links on our website here. https://www.intothemothlight.com/home/ep33-mark-street Show your support for our podcast on Patreon here.
www.patreon.com/themothlightpodcast

Dans ce nouvel épisode, nous accueillons le réalisateur et producteur Vincent Le Port qui sortait le 23 mars dernier son premier long métrage « Bruno Reidal, Confession d'un meurtrier », film marquant par sa beauté et son horreur. Pour dresser son portrait, nous sommes revenus ensemble sur les films charnières de son adolescence, des « Beaux Gosses » (R. Sattouf) à « Donnie Darko » (Richard Kelly) en passant par l'incroyable « Gerry » (G. Van Sant). Nous avons également parlé de la pellicule, qui l'accompagne autant dans sa fabrication de films que dans ses plaisirs de spectateur, avec les films de Kelly Reichardt et de Vincent Gallo. Notre invité a aussi évoqué son amour des comédies grinçantes, où il y a « quelque chose qui gratte », avec la version anglaise de la série « The Office » (Ricky Gervais, Stephen Merchant) - mais aussi la joie simple d'oeuvres comme le très beau « Rond est le monde » (Olivier Dekegel) ou le très récemment ressorti « Les Onze Fioretti de François d'Assise » (R. Rossellini). Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 6'07 Des adolescents au cinéma : Donnie Darko (Richard Kelly, 2001); Les beaux gosses (R. Sattouf, 2009) - 6'07 Des journaux intimes/confessions : Peau de cochon (Philippe Katerine, 2004); Un homme qui dort (B Queysanne, G Perec, 1974) - 9'56 Une région, un territoire : Le Lot dans Le plein pays (A. Boutet, 2009) - 13'28 II. CIRCONSTANCES & CONDITIONS DE VISIONNAGE - 17'44 Le souvenir d'un film en pellicule : The Brown Bunny (V. Gallo, 2003) - 18'07 Un film à voir dans une grotte ou un gouffre : Rond est le monde (O. Dekegel, 2013) - 21'25 III. MÉMOIRE & SOMMEIL - 23'30 Le souvenir d'un film charnière à l'adolescence : Gerry (Gus Van Sant, 2002) - 23'51 Le souvenir d'une BO de film revenant fréquemment en tête : la chanson "Popcorn" (Hot Butter) dans Ma première brasse (Luc Moullet, 1981) - 29'15 CARTE BLANCHE - 33'16Certaines femmes (Kelly Reichardt, 2016) IV. TRANSMISSION - 41'39Un film auquel Vincent voudrait rendre hommage dans son travail : Les onze fiorettis de François d'Assise (R. Rossellini, 1950) - 42'27 REFUGES - 47'25 I…dreaming (Stan Brakhage, 1988) The Office UK (Ricky Gervais, Stephen Merchant, 2001) The Master (Paul Thomas Anderson, 2012)

The legacy of Stan Brakhage looms large in the crowded world of 1960s experimental film. His style of filming and editing has become instantly recognizable, as are the themes of nature, bodies, and children that he always circles back to. Having rejected a more conventional lifestyle, inspired in part by experimental artists he met in San Francisco and New York, Brakhage developed his own unique style of filmmaking from a young age – one that dabbled equally in refracted light, microscopic detail, inverted images, frenetic editing and aniline dyes. By the start of the 1960s, Brakhage had already begun to gain popular recognition on the film and arts scene. By the end of the decade, he had solidified his importance as, perhaps, the most influential experimental filmmaker of his century. In this episode, Bart and Jenna challenge themselves to sit down to watch over five hours worth of largely silent experimental film. Which, funny enough, wasn't actually as painful to either of them as it might have sounded when they started. For two people who consider themselves to be narrative supremacists, they sure have a lot to say about how to approach Brakhage for the first time and how to interpret his work. Heck, they might have even learned to love him a little bit… (NOTE: They highly recommend you spend 3 minutes and 13 seconds, respectively, getting a little taste of Brakhage before listening, if you're coming in completely blind. Though be warned: these pixelated transfers on YouTube are shoddy substitutes for Criterion's gorgeous HD masters.)The following films are discussed:• Mr. Tompkins Inside Himself (1960, 16 mm, 42 mins.)• The Dead (1960, 16 mm, 11 mins.)• Thigh Line Lyre Triangular (1961, 16 mm, 6 mins.)• Dog Star Man: Prelude (1961, 16 mm, 25 mins.)• Blue Moses (1962, 16 mm, 10 mins.)• Sartre's Nausea (1962–1963, 16 mm, 4 mins.)• Dog Star Man: Part 1 (1962, 16 mm, 31 mins.)• Mothlight (1963, 16 mm, 3 mins.)• Dog Star Man: Part 2 (1963, 16 mm, 6 mins.)• Dog Star Man: Part 3 (1964, 16 mm, 8 mins.)• Dog Star Man: Part 4 (1964, 16 mm, 6 mins.)• Song 1 (1964, 8 mm, 3 mins.)• Song 2 (1964, 8 mm, 1.5 mins.)• Song 3 (1964, 8 mm, 3 mins.)• Song 4 (1964, 8 mm, 3 mins.)• Song 5 (1964, 8 mm, 4.5 mins.)• Song 6 (1964, 8 mm, 2 mins.)• Song 7 (1964, 8 mm, 2.5 mins.)• Song 8 (1964, 8 mm, 3.5 mins.)• Fire of Waters (1965, 16 mm, 7 mins.)• Pasht (1965, 16 mm, 5 mins.)• Two: Creeley/McClure (1965, 16 mm, 3 mins.)• Song 9 (1965, 8 mm, 4 mins.)• Song 10 (1965, 8 mm, 3 mins.)• Song 11 (1965, 8 mm, 3 mins.)• Song 12 (1965, 8 mm, 3 mins.)• Song 13 (1965, 8 mm, 3 mins.)• Song 14 (1965, 8 mm, 3 mins.)• 23rd Psalm Branch (1966–1967, 8 mm, 69 mins.)• Scenes from Under Childhood (Section One) (1967, 16 mm, 24.5 mins.)• Eye Myth (1967, 35 mm, 9 secs.)• Love Making (1968, 16 mm, 36 mins.)Also mentioned:• Metaphors On Vision (1963, book by Stan Brakhage)• Film as a Subversive Art (1974, book by Amos Vogel)• Visionary Film: The American Avant-Garde 1943-1978 (1979, book by P. Adams Sitney)• Brakhage (1999, documentary directed by Jim Shedden)• Stan Brakhage: Filmmaker (2005, book edited by David E. James)

The Secret Movie Club Team (Connor Lloyd Crews, Edwin Gomez, Daniel Ott, Craig Hammill) talks about the short film as an art form. Everything from avante garde filmmaker Stan Brakhage to 80's/90's music videos to omnibus movies where famous directors get together to make a collection of 30 minute shorts around a theme gets discussed. And even Orson Welles' French TV hour-long The Immortal Story get name-checked. Plus Edwin no longer needs compliments, Daniel has developed an edge, and Craig has a John Ford dream.  

He Likey the Ball! Tim Kalpakis (The Sloppy Boys, The Birthday Boys) joins Agata and Anastasia to discuss the film BASEketball. Tim shares his experiences sitting courtside, having insomnia, and being a rockstar. The gang also chats Blake Griffin, Dr. Feelgood, Trey Parker & Matt Stone kissing, Magic Johnson, bee allergies, giant dicks, Stan Brakhage, live podcasts, David Zucker, South Park, Werner Herzog, Johnny Knoxville, little white shitheads, and stupid jokes! Will the gang agree to never get famous? Hit play to find out!

Jeffrey Babcock is an American alternative film curator and cultural activist now in Amsterdam. As a promoter of independent film culture he is currently the programmer of several underground cinema venues throughout the city, where he places the films he screens into a historical, aesthetic, political and biographical context. As a student of Stan Brakhage, he developed a keen interest in experimental cinema and philosophy. He also has a keen eye for finding elements of experimental film-language beyond the strict limits of what is categorized as experimental film: from early science documentaries to contemporary Korean teenage films. LYRICS: Straight, while you watch and curate Consume or create Allowing eternity to enter Free, like the sway of a tree You shrug in its lee This is the stillness that was never still Silently dreaming together Bright light, cutting our night sight Guiding our inflight To a new polarity Big screen informing our dreams Living our slow scenes riding through realities Between the light Between the dark Between the worlds Right, a disguised fight Machine guns of light Doing the maths up to infinity Apart, the flickering art Somewhere smart This is the magic of the cinema Silently dreaming together Bright light, cutting our night sight Guiding our inflight To a new polarity Big screen informing our dreams Living our slow scenes riding through realities Between the light Between the dark Between the worlds And we are The negative Exposed to A positive The principles Of photography Rise us up And set us free Bright light, cutting our night sight Guiding our inflight To a new polarity Big screen informing our dreams Living our slow scenes riding through realities Between the light Between the dark Between the worlds

Scott Atkinson (rovingsagemedia.bandcamp.com) and Matt Comegys sift through all the weird metaphysical layers of this Stan Brakhage opus.Do your homework, and have a squiz at the film here:https://www.youtube.com/watch?v=NAoTHILzheoPlease subscribe, review, and rate us on all the podcatchers.  We are at @AuralHygienePod on Twitter and you can search the same on Facebook.  And if you're Scrooge McDuck, throw a bob out to Patreon:https://www.patreon.com/podcastiopodcastiusBoth Scott and Matt get musical here:http://rovingsagemedia.bandcamp.comJune 26 - Tarot (narrated by Christopher Lee)

Our guest on this episode is the American filmmaker Nathanial Dorsky, a prolific and poetic filmmaker who has been making short experimental films since the mid 1960's. His book Devotional Cinema is essential reading for anyone interested in the transformative nature of film. We discuss shooting the light on a plant, his approach to open form editing and why he only shows work at 18 fps. We also talk about his relationship with Stan Brakhage, who of course, we named this podcast after. Thank you to Graeme Hogg (aka Hogge)for recording his own 16mm projector running at 18 fps for this episode. This episode of Into the Mothlight is sponsored by The Film and Video Poetry Society

Myron Ort, filmmaker, painter, musician, composer, repairer of antique cuban drums, restorer of vintage cars and expert on Latin-American music, talks to H2EEF about his unique film works. Spanning most forms of experimental practice and heavily influenced by the 60s psychedelic scene and Gestalt psychology, using hand painted film, multi-exposure films, film portrait, found footage and more, Myron's work is really deserving of a wider audience. In this first part of our discussion, we discuss the influences of the 60s Bay Area scene on the filmmaker's work and in particular his psychedelic films and the film that Stan Brakhage referred to as "the most worked on hand painted film I've ever seen!" OMMO. You can find his wondrous array of work on Vimeo: https://vimeo.com/myronort On Youtube: https://www.youtube.com/user/ZenOkeanos and on his own website, where you can buy his collected films on DVD along with his paintings!: Filmmakers & artists discussed in this episode include Barbara Hammer Steven Zailian Stan Brakhage Jordan Belson James Broughton Bruce Baillie Ben Van Meter Chick Strand Sidney Peterson Wassily Kandinsky Len Lye Man Ray Jean Cocteau Standish Lawder Fernand Leger Harold Gregor Donna Germain Peter Kubelka Writers discussed include: Aldous Huxley Hoyt Sherman Rudolf Arnheim Wolfgang Köhler Siegfried Kracauer

We’re back with another double feature of short films…and while they’re both original in their storytelling, their executions could not be more different. Join the guys at 1001 by 1 this week as they discuss Stan Brakhage’s “Dog Star Man” and Chris Marker’s “La Jetee”, do a little delving into the world of Gaspar Noe, and yes – even tackle the recent “Synder Cut”. Also, this week Ian recommends the short film “More” (available on YouTube) and Adam recommends “Synchronic” (available for free on Hoopla). Want to suggest a film for us to review on the show? You can support us at patreon.com/1001by1. You can listen to us on iTunes, Stitcher, Spotify, & Google Play. You can find us on Facebook at facebook.com/1001by1. You can find us on Twitter at twitter.com/1001by1. You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann. 0:00 – Intros/Gaspar Noe & “Enter the Void”/CineFix Top 5 Original Films 10:52 – “Coming 2 America” and Eddie Murphy 13:22 – The Snyder Cut 19:54 – “Ghost Dog: The Way of the Samurai” 24:37 – Ian’s recommend “More” 26:55 – Adam’s recommend “Synchronic” 32:28 – “Dog Star Man” 50:56 – “La Jetee”

Birth, sex, marriage, death. The movement of the stars and the planets, the chopping down of a tree. For Stan Brakhage, the prolific high priest of American experimental cinema, the entirety of existence was under the lens - something both beautiful and mortally terrifying. This week, the boys are joined by friend of the pod Daniel Neofetou to dissect some of Brakhage's most essential works: Anticipation of the Night (1958), Window Water Baby Moving (1959), Mothlight (1963), and Dog Star Man (1961-1964), among many, many others, charting his development from lyrical cinema and toward the so-called 'mythopoeic' style that came to dominate the painterly expressionism of his later films (such as The Dante Quartet, 1987). It's hard, hairy, and long, but really, really worth it.

Robert Delany and Bennett Glace join host Craig Wright to discuss a pair of later Stan Brakhage works that rarely receive the attention of earlier landmarks such as Mothlight (1963) or Window Water Baby Moving (1959). These films, one painted on film exploring the psychic effects of television (Delicacies of Molten Horror Synapse, 1990), the other shot on 16mm and produced shortly before Brakhage underwent surgery for bladder cancer (Commingled Containers, 1996), allow for discussions about how experimental cinema is taught in university settings and how to approach films that essentially challenge their viewers to unlearn everything they know about film viewing. Listen in and find out how these films demonstrate the range of this one-of-a-kind artist.

1. Inception – Horace Tapscott – Live at Lobero vol 1 – 1981 2. Earthly Garden – Reggie Workman – Synthesis – 1986 3. The Moon – Wendy Eisenberg – Auto – 2020 4. Peace Warriors – Mark Feldman – Sounding Point – 2021 5. Stained Glass Sky with Dancing Light (for Stan Brakhage) – … Continue reading tone science 421

Bosse Provoost, Ezra Veldhuis en Oshin Albrecht onderzoeken wat in de verschillende ontstaansverhalen in de wereld universeel is, en wat cultuur- of plaatsgebonden. Een boeiende ontdekkingsreis langs het werk van animatiefilmmaker Stan Brakhage en performance-kunstenares Laurie Anderson, de Inuit, Polynesische volkeren en het Metropolitan Museum in New York. https://www.toneelhuis.be/nl/radio-toneelhuis/aflevering-6/

On episode 134 of The Quarantine Tapes, Paul Holdengräber is joined by composer Morton Subotnick. Morton is a pioneering composer in electronic music. Morton and Paul discuss the changes in music since the 1950s and when Morton realized that he was living through a pivotal moment in the history of music.Morton worked on the development of early electronic instruments. He talks about how technology has changed the process of making and listening to music. Then, Paul and Morton touch on Mozart, Stan Brakhage, and the challenge of trying to make “new new” music instead of just “new old” music. Morton Subotnick is one of the pioneers in the development of electronic music and multi-media performance and an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. His work Silver Apples of the Moon has become a modern classic and was recently entered into the National Registry of Recorded works at the Library of Congress. Only 300 recordings throughout the entire history of recordings have been chosen.Subotnick is also doing pioneering work to offer musical creative tools to young children. He has authored a series of six CD ROMS for children, a children's website, and developing a program for classroom and after school programs that will soon become available internationally. He tours extensively throughout the U.S. and Europe as a lecturer, composer, and performer. 

The seventh episode of Season 1 of Deaf With The Record focuses on Stereolab's space-infused classic Dots and Loops. Ollie and Jamie discuss how the music press has attempted to describe (and also deride) Stereolab over the years, before breaking down some of this album's best tracks and then finally putting our Liberal Arts ™ critical theory hats on and waxing lyrical about the band's Marxist politics (when I saw we, I really mean me, Jamie, though you can look forward to lots of quizzical looks from Ollie as I launch into a diatribe about Stan Brakhage before he eventually replies with "err, if you say so lad".) Expect the usual too: YEAR IN MUSIC, APEX, ALTERNATE CUTS AND ALBUM COVER NIGHTCLUB. INSTA: @deafwiththerecord If you prefer your podcasts in video form please check out our Youtube

David and guests discuss nine films involving notable directors like Ingmar Bergman, Agnes Varda, Krzysztof Kieślowski, Hollis Frampton, Stan Brakhage and more in this final episode of Season 3.

David and guests discuss nine films involving notable directors like Ingmar Bergman, Agnes Varda, Krzysztof Kieślowski, Hollis Frampton, Stan Brakhage and more in this final episode of Season 3.

Toby Reynolds and filmmaker and academic Jax Griffin muse on Stan Brakhage's 1971 effort The Act of Seeing With One's Own Eyes. Expect philosophy, Maya Deren, the occasional dog whimper, Vogon poetry, Six Foot Under and a whole heap more besides...

Actor, documentarian and excellent human Alex Winter joins Letterboxd's Gemma Gracewood and Jack Moulton to talk about his three new films: Showbiz Kids, Zappa and the long-awaited Bill & Ted Face the Music. Films mentioned by Alex: Bill & Ted Face the Music Showbiz Kids Zappa Land Without Bread The films of Stan Brakhage and Chris Marker The Rolling Stones: Cocksucker Blues Leaving Neverland Close Encounters of the Third Kind Raiders of the Lost Ark The Lost Boys The Empire Strikes Back Superman Jaws The films of Charlie Chaplin and Fred Astaire Once Upon A Time... in Hollywood Monty Python and the Holy Grail The Painter and the Thief Capone Vitalina Varela First Cow Links Alex's 50 B-Sides and Rarities list The Letterboxd list for this episode. Alex's Letterboxd profile This episode was recorded in Los Angeles and Auckland, and edited by Morgan Avery. Podcast artwork by Ann Davenport. Our theme music is ‘Hitchcock' by The Phoenix Foundation. Our next episode is also about documentaries, with the directors of The Fight. Leave us a voice message about your favorite doc of 2020.

JEFF JACKSON is a novelist, playwright, visual artist, and songwriter. His second novel Destroy All Monsters was published by Farrar, Straus & Giroux in Fall 2018. It received advanced praise from Don DeLillo, Janet Fitch, Dana Spiotta, Ben Marcus, and Dennis Cooper. His novella Novi Sad was published as a limited edition art book and selected for “Best of 2016” lists in Vice, Lit Reactor, and Entropy. His first novel Mira Corpora, published in 2013, was a Finalist for the Los Angeles Times Book Prize and featured on numerous "Best of the Year" lists, including Slate, Salon, The New Statesman, and Flavorwire. His short fiction has appeared in Guernica, Vice, New York Tyrant, and The Collagist and been performed in New York and Los Angeles by New River Dramatists.As a playwright, six of his plays have been produced by the Obie Award-winning Collapsable Giraffe company in New York City. Vine of the Dead: 11 Ritual Gestures debuted in 2016 at the Westbeth Arts Center. Dream of the Red Chamber: Performance for a Sleeping Audience, an adaptation of the epic Chinese novel, debuted in Times Square in 2014 to rave reviews. Botanica was selected by the New York Times as "one of 2012's most galvanizing theater moments."He holds an M.F.A. from NYU and is the recipient of fellowships from the MacDowell Colony, Baryshnikov Arts Center, Virginia Center for the Creative Arts, and Hambidge Center.Film Professor, UNC Charlotte Taught American Independent Films: Cinema Outside the Mainstream , a survey class that includes Maya Deren, Sam Fuller, Stan Brakhage, John Cassavetes, Jack Smith, David Lynch, Charles Burnett, Todd Haynes, and Harmony Korine. Film and Music Curator- Co-curator of New Frequencies, cutting-edge film, music, and literature series for the McColl Center for Art + Innovation. Featured artists included Ben Marcus, Sandra Beasley, Guy Maddin, Janie Geiser, Jem Cohen, Rob Mazurek, Stephanie Barber, Battle Trance, and Lewis Klahr. The series was awarded “Best Arts Programming” by Charlotte Magazine in 2015 and Best Arts Event of 2016.- Founded, programmed, and organized NODA Film Festival whose eight festivals attracted over 12,000 attendees. Each festival focused on different theme, including Great Black Cinema, Asian Cinema, Animation, French New Wave. The series awarded Creative Loafing's “Best Film Festival.”- Programmed bi-monthly Loft/Lab concert jazz concert series in Manhattan that was positively reviewed in the New York Times and Time Out New York. Songwriter and singer in the band Julian Calendar, which has released the full length album Parallel Collage and performs live shows.Jeff's band, Julian Calendar's music can be found on our Bandcamp page: https://juliancalendar.bandcamp.comIf you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=trueDamien Swaby Social Media Links:Instagram www.instagram.com/damien_swaby_video_producer/Twittertwitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5EauthornewyorkbrooklynindiefilmfilmmakerscreenplayFilmmoviedanabrookedanabrookecinema dialoguemakemoviesLifePodcast

Writer/editor/director Brendan Steere joins us to explain how an autocorrected text message inspired him to write a script. Brendan is a knowledgeable film fan who managed to effectively weave influences like Stan Brakhage into a religious dinosaur action/horror/comedy.  Before Brendan joins us, Randy unloads "The Load", Clark talks about his first-class seat on "The Money Plane", and Russell praises a film he's owned for years but only watched recently because an app told him to.    Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our FeMail Bag by emailing us at Podcast@TheOverlookTheatre.com  Theme song by Darryl Blood - darrylblood.bandcamp.com/  Reach us on Instagram (@theoverlooktheatre)  Facebook (@theoverlookhour)  Twitter (@OverlookHour) 

Seconda monografia di seguito. Questa volta l'ospite ci ha dato buca e ne abbiamo parlato fra di noi. Jim Jarmusch, autore principe del cinema indipendente americano, ci spinge a riflessioni sul rapporto tra underground e New Hollywood, e fioccano parallelismi che vanno da Woody Allen a Jonas Mekas, da Stan Brakhage a certa cinica commedia italiana (Scola o Risi); e poi la redenzione disattesa, la morte, la centralità degli oggetti, il rapporto spurio con l'universo femminile, l'eterogeneità di stili e interessi (l'oriente, l'horror, la musica, la poesia...). La completezza di un cinema in cui l'emarginazione è uno stato mentale. Partecipanti: Marco Grifò Dario Denta

Falsetto is a professor of cinema studies at the Mel Hoppenheim School of Cinema at Concordia University in Montreal, Canada, where he utilizies his impressive areas of expertise in contemporary American Cinema; experimental film; independent narrative film; the films of Stanley Kubrick, Nicolas Roeg, Stan Brakhage, Federico Fellini, Terence Davies, Martin Scorsese, David Lynch, and John Cassavetes; as well as contemporary film theory and aesthetics. He is the author of 'Perspectives on Stanley Kubrick' and 'Stanley Kubrick: A Narrative and Stylistic Analysis'. Support this podcast

Baran Bozdağ ve Mert Sinay, ''deneysel sinemada dinamizm'' konu başlığının ikinci bölümünde Stan Brakhage konuşmaya devam ediyor.

Baran Bozdağ ve Mert Sinay, Judex Sinema'nın ''deneysel sinemada dinamizm'' konu başlığında Stan Brakhage sineması hakkında konuşuyor.

Baran Bozdağ ve Mert Sinay, Judex Sinema'nın beş bölüm sürecek ''deneysel sinemada dinamizm'' konu başlığının ilk bölümünde Stan Brakhage sinemasına odaklanıyor.

It’s hard to overstate just how impactful STAR WARS was. It is a film that changed the landscape of cinema forever, and continues to be a cultural juggernaut to this day. But it was a movie created by a quiet kid who was into FLASH GORDON serials and experimental art films, and a film that nobody thought would amount to much of anything. For this series, we’re celebrating the original STAR WARS trilogy, and inducting its creator, George Lucas, into the Psychotronic Hall of Fame. First, we have to go all the way back to 1977, where it all began. Actually, we’re going back even further, to George Lucas’s childhood in Modesto, California, to explore how a kid who grew up with dreams of becoming a race car driver turned into an adult who was into the experimental films of Stan Brakhage and the arthouse films of Fellini, Truffaut, and Kurosawa. And how that guy ended up, by his third film, making the biggest piece of pop culture that has ever existed. This episode covers the biggest film that we’ve ever attempted to tackle, as we discuss the creation of STAR WARS and its huge impacts on the film industry and pop culture in general. VOTE IN THE PEOPLE'S CHOICE AWARDS FOR BEST PSYCHOTRONIC FILM OF 2019! It's the time of year when we take a look back at our favorite films of the last year! As we always do, in addition to our picks, we'll also reveal the winner of a listener's poll for their favorite psychotronic film of the year, and that's where you come in! Head to https://www.surveymonkey.com/r/HTFNWRR to vote to let us know which cult/genre movie was your favorite of the year! We'll reveal the winner in our upcoming Best of 2019 episode! Want another way to contribute? Call us at (864) 372-9931 and leave us a voicemail of 3 minutes or less telling us about your favorite movie of the year and you may be on the show! Visit our website at www.psychotronicfilmsociety.com. There you'll find all of our past episodes and our full list of Psychotronic Hall of Famers! Theme song: “Foreign Body” by the Slasher Film Festival Strategy from their album PSYCHIC SHIELD. More info: http://slasherfilmfestivalstrategy.bandcamp.com Join our Discord server! https://discord.gg/5Q3uUDv  Follow the show: twitter.com/psychotronicpod facebook.com/psychotronicpod instagram.com/psychotronicpod Follow Justin: twitter.com/justin_bishop instagram.com/justin_bishop letterboxd.com/justin_bishop Follow Gary: twitter.com/thisisgaryhorne instagram.com/thisisgaryhorne letterboxd.com/rockandrollgary Please rate review and subscribe on Spotify, Apple Podcasts, Google Play, Stitcher or wherever else you listen to podcasts!

Collin and Chris discuss the boundaries of film as art in a discussion of Pure Cinema before diving into Alain Resnais's 1961 French masterpiece Last Year at Marienbad. Last Year at Marienbad is unlike anything we have discussed on the show, or anything we have ever seen for that matter. This film is about as far from the Hollywood blockbuster as it gets, it is film as art and is all the stronger for it. Join Chris and Collin as we discuss what this film is trying to make us think and feel and what it can teach us about the human experience.What we are covering next: The Irishman, Martin Scorsese (2019)Pure Cinema Films and Chris's soundtrack recommendations:Portrait of a Young Man, Henwar Rodakiewicz (1925-31)Giacinto Scelsi“Natura renovatur pour onze cordes”“Anagamin pour douze cordes”“Ohoi pour seize cordes”“Elohim pour dix cordes”Leopold StokowskiPassacaglia and Fugue in C minor, BWV 582 (arr. L. Stokowski)Dog Star Man, Stan Brakhage (1964)PreludeFull Album: Deep Space Psudokument, by PSUDOKUPart I, II, III, & IVHarmonielehre: Part I, by John AdamsHarmonielehre: Part II: The Anfortas Wound, by John AdamsHarmonielehre: Part III: Meister Eckhardt and Quackie, by John AdamsShort Ride in a Fast Machine, by John Adams

In our 161st episode we're talking spine #184 in the Criterion Collection: BY BRAKHAGE: AN ANTHOLOGY, a collection of Stan Brakhage's shorts from 1954 to 2001. First RJ talks about COMMANDO, DANCER IN THE DARK, then RJ and Jarrett talk about going to see MIDSOMMAR with all the spoilers you'd come to expect after catching it this late, and Jarrett talks briefly about THE EDGE and THE GREAT HOAX. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

Puhumme filosofi Panu Raatikaisen (@panuraatikainen) kanssa viime aikojen kuohuttavimmasta tieteenfilosofian kysymyksestä, eli tieteen objektiivisuudesta. Voiko tiede olla täysin arvovapaata, vai tuleeko ideologia aina väliin? Onko rehellisempää vain myöntää oma poliittinen vakaumuksensa? Mitä tutkija saa sanoa sosiaalisessa mediassa? Ja mitä tärkeintä: onko Tampereen yliopisto kommunistien vallassa? Alkujuonnossa pohdimme (vaihtelevin tuloksin) juuri Netflixiin saapuneen Neon Genesis Evangelionin "inhmillistä pessimismiä", sarjan statusta animen klassikkona ja The End of Evangelion-elokuvan psykedeelistä avantgardismia. Mainitsemani EoE- essee: Esther Rosenfield - 'The End of Evangelion' and Stan Brakhage https://medium.com/@EstherRosenfield/the-end-of-evangelion-and-stan-brakhage-e57fb668181f PÖLÖTILA-podcast on osa Vita nuovaa, joka on milleniaalien ja post-milleaniaalien blogiyhteisö. Vita nuova pyrkii edistämään sivistystä, kulttuuria ja internetin laadukasta tekstisisältöä. Tutustu Vita nuovaan: https://vitanuovablogi.wordpress.com/ (IG: vitanuovablogi, Twitter: @vitanuovablogi) Tuotanto, juontaja: Sakri Pölönen (Twitter: @sakripol) Tunnusmusiikki: Sami Elovaara (Soundcloud: https://soundcloud.com/samtastic-1)

Depois de, na semana passada, ter feito sem querer um episódio sem introdução, estou de volta a episódios com introdução. A convidada é a Catarina Branco, que lançou o EP ‘Tá Sol em Janeiro. Falamos da Cristina, do Mean Girls, da Lucrecia Martel, da Teresa Villaverde e do Stan Brakhage.

Best known as a poet in his native Lithuania, Jonas Mekas (1922-2019) became a titan of US underground cinema after moving to New York in 1949. This week, Juliet talks to filmmaker/artist Chiara Ambrosio and curator/critic Herb Shellenberger about Mekas' life, work and legacy. SELECTED REFERENCES Films by Jonas Mekas Film Magazine of the Arts (1963) - http://film-makerscoop.com/catalogue/jonas-mekas-film-magazine-of-the-arts Walden: Diaries, Notes and Sketches (1969) - https://www.slantmagazine.com/dvd/diaries-notes-and-sketches-also-known-as-walden Reminiscences of a Journey to Lithuania (1972) - https://www.imdb.com/title/tt0069172 Lost Lost Lost (1976) - https://vimeo.com/217911753 Self-Portrait (1980) The Education of Sebastian or Egypt Regained (1992) - https://vimeo.com/40317134 Zefiro Torna (1992) - http://retentionalfinitude.blogspot.com/2010/05/jonas-mekas-zefiro-torna-1992.html As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) - https://variety.com/2001/film/reviews/as-i-was-moving-ahead-occasionally-i-saw-brief-glimpses-of-beauty-1200467427 A Letter from Greenpoint (2005)- https://vimeo.com/229569417 Paris Hilton (2007) - https://www.youtube.com/watch?v=I3i8VBich1k Texts by Jonas Mekas Anti-100 Years of Cinema - http://www.incite-online.net/jonasmekas.html Conversations with Filmmakers (2018) - https://www.itsnicethat.com/articles/conversations-with-filmmakers-bremer-and-storz-publication-171018 I Had Nowhere to Go (1991) - https://www.youtube.com/watch?v=G9GWqYqPbew I Seem to Live (2019) - http://jonasmekasfilms.com/books/index.php?book=I_seem_to_live Scrapbook of the Sixties (2010) 2002 (dir. C. Spencer Yeh, 2015) - https://issueprojectroom.org/event/c-spencer-yeh-video Robert Aldrich Kenneth Anger - https://www.kennethanger.org/ Anthology Film Archives - http://anthologyfilmarchives.org/ Stan Brakhage - http://www.ubu.com/papers/tyler_parker-stan_brakhage.html Bread and Puppet Theater - http://breadandpuppet.org/about-bread-and-puppet/other-links/peter-schumann James Broughton Un Chant d'amour (dir. Jean Genet, 1950) - https://www.youtube.com/watch?v=4RN_IDtPcNE Shirley Clarke - http://www.projectshirley.com Tony Conrad - https://en.wikipedia.org/wiki/Tony_Conrad Maya Deren - https://www.bfi.org.uk/news-opinion/news-bfi/features/maya-deren-meshes-of-the-afternoon Film Culture (journal) - http://www.ubu.com/papers/film_culture.html Film Culture 80: The Legend of Barbara Rubin - http://www.artbook.com/9783959052023.html Flaming Creatures (dir. Jack Smith, 1963) - http://sensesofcinema.com/2002/cteq/flaming/ For Life, Against the War (dir. various, 1967) - http://flahertyseminar.org/life-against-war Allen Ginsberg Beverly Grant - https://en.wikipedia.org/wiki/Beverly_Grant_(actress) Ken Jacobs - https://vimeo.com/kenjacobs Peter Kubelka - https://offscreen.com/view/interview_kubelka Jim Kweskin & The Jug Band - https://www.discogs.com/artist/1013031-Jim-Kweskin-The-Jug-Band Jacques-Henri Lartigue - https://thephotographersgallery.org.uk/print-sales/our-artists/jacques-henri-lartigue George Maciunas - http://georgemaciunas.com/about Gregory Markopoulos - https://www.closeupfilmcentre.com/film_programmes/2018/gregory-markopoulos Marie Menken - https://lightcone.org/en/filmmaker-220-marie-menken Hermann Nitsch - http://www.nitsch.org/index-en.html Pull My Daisy (dir. Robert Frank & Alfred Leslie, 1959) - https://vimeo.com/92403607 Nicholas Ray Ron Rice - https://www.villagevoice.com/2018/08/23/the-shooting-star-cinema-of-ron-rice/ Shadows (dir. John Cassavetes, 1959) - http://people.bu.edu/rcarney/cassoncass/shadows.shtml Shoah (dir. Claude Lanzmann, 1985) P. Adams Sitney Susan Sontag Stranger Than Paradise (dir. Jim Jarmusch, 1984) Thanatopsis (dir. Em Emshwiller, 1962) - https://www.youtube.com/watch?v=DcVAPnFf20Y HENRY DAVID THOREAU, Walden 1854) Amos Vogel - https://en.wikipedia.org/wiki/Amos_Vogel Andy Warhol Walt Whitman

David and guests wrap up Season 2 of the podcast with conversations about 1970 films from Stan Brakhage, Hollis Frampton, David Lynch, Stuart Cooper and Ingmar Bergman.

Bleu Cinéma | Podcast | Épisode 2 Pour le deuxième épisode, il est question en première partie de cinéma expérimental et notamment de Stan Brakhage. Plusieurs débats sur différents sujets prennent place au courant du reste du podcast. Les invités étant tous issus du milieu du cinéma, les conversations dérapent moins que dans l'épisode pilote. Invités : Théo Parent, Thomas Lonergan & Guillaume C. Théo Parent : https://www.instagram.com/bottleoketchup/?hl=fr-ca Thomas Lonergan : https://www.instagram.com/thenassdore/?hl=fr-ca Guillaume C. : https://www.instagram.com/guillaumefun/?hl=fr-ca TABLE DES MATIÈRES7 00:01:04 .......... Introduction sur le vidéoclip et le cinéma expérimental. 00:02:05 .......... Fatigue. 00:02:58 .......... Stan Brakhage. 00:08:04 .......... Arnulf Raine. 00:09:19 .......... These Things They Take Time. 00:10:32 .......... Résumé. 00:11:07 .......... Début du podcast. 00:12:48 .......... Débat : Le rôle et la valeur du vidéoclip. 00:19:13 .......... Maltese Falcon ou White Heat. 00:20:11 .......... La carte bleue de Birdo. 00:21:54 .......... Art vidéo vs. cinéma expérimental. 00:23:49 .......... Retour sur le vidéoclip. 00:25:27 .......... Stan Brakhage. 00:33:35 .......... Lonergan a trouvé une job à Chapnick. 00:34:49 .......... Aparté TikTok. 00:37:49 .......... Yersinia Pestis. 00:43:01 .......... La Bête Lumineuse. 00:49:18 .......... Un lapsus. 00:50:16 .......... Problème de son. 00:51:20 .......... Problème de son réglé. 00:52:58 .......... Modern Times. 00:54:48 .......... FFAR 250. 00:56:46 .......... Débat : Qu'est-ce que le Beau? 01:09:23 .......... Shoutout à Alexis Viau (La Tête Sous l'Eau). 01:12:18 .......... Hubert Lenoir. 01:13:05 .......... Théo essaye de parler du rapper Viper. 01:18:53 .......... Susan Sontag, CAMP & Viper. 01:21:40 .......... La provocation en art. 01:29:42 .......... Théo est journaliste aux Inrocks. 01:34:19 .......... Film Production (prise 1). 01:37:03 .......... Film Production (prise 2). 01:39:52 .......... Film Production (prise 3). 01:44:48 .......... Ricardo Trogi. 01:52:54 .......... Fuck Jean-Luc Godard. 01:55:51 .......... Pré-wrap. 02:00:39 .......... That's a wrap. BIBLIOGRAPHIE - Brakhage, Sta. 1961-94. « Dog Star Man ». États-Unis. [En-ligne] https://www.youtube.com/watch?v=u5VasA0CRas - Brakhage, Stan. 1963. « Metaphors on Vision ». [En-ligne] http://wtp.hippo.ws/sites/wtp.hippo.ws/files/brakhage.pdf - Kubelka, Peter. 1960. « Arnulf Rainer ». Autriche. [En-ligne] https://www.youtube.com/watch?v=Uj-_WhYf-Wg - « Loud - TTTTT » Youtube, mis en ligne par Loud, 20 novembre 2018,https://www.youtube.com/watch?v=8Vslu1FTK9Q

Following the failed treachery they witness in Paris, Tom & Chris decide to roll a d20 as they enter the abstract and intriguing world that is the mind of Stan Brakhage.

AUDIO COLLAGE: To commemorate the 4th of July, here's a short episode about the great American composer Charles Ives. Guest starring Stan Brakhage, Billy Eckstine, Aaron Copland, Elliott Carter, and Nicolas Slominsky.  Source material derived from archive.org and ubu.com USA Composers: The "American" Tradition with Robert Potts (television program, 1967) Nicolas Slominsky at 76 (radio broadcast, 1971) Are My Ears on Wrong? A Portrait of Charles Ives (film, 1979) The Test of Time with Stan Brakhage (radio broadcast, 1982; includes a recording of Ives's "The See'r") And from the Internet Archive's 78 RPMs & Cylinder Recordings collection: "Nobody Knows De Trouble I've Seen" by Billy Eckstine "American Fantasie (Parts 1 & 2)" by Victor Herbert's Orchestra "Bye Bye Celluloid" opening theme by Brad Glanden All original content: Copyright 2018 Brad Glanden. All rights reserved

In the opening episode of Likh, the Process, we talk to poet, spoken word artist and founder of Unerase Poetry, Simar Singh. He tells us about how he got into poetry, Unerase poetry’s humble beginnings, his curation process, and what drives him to keep writing. To open, he reads an excerpt of his poem ‘Blackboards’ as a special performance for the show. LINKS Check out the poems featured in this episode in their entirety -- ‘The Legal Rapist’ by Simar Singh (https://www.youtube.com/watch?v=BujVLSbUmG0&t=) -- ‘A Brown Girl’s guide to Gender’ by Aranya Johar (https://www.youtube.com/watch?v=75Eh5OnNeoY) -- ‘The Privileges Of A Penis’ by Sudeep Pagedar (https://www.youtube.com/watch?v=uGFU3ELlhUg&t=) Opening quote - "The Brakhage Lectures" (1970) (http://www.ubu.com/historical/brakhage/brakhage_lectures_revised.pdf) , Courtesy of the estate of Stan Brakhage. Follow @expresspodcasts (https://twitter.com/ExpressPodcasts)  on Twitter or find us on Facebook (https://www.facebook.com/expresspodcasts) to keep up with our shows and episodes. You can tweet to Josh on @tig3rbabu (https://twitter.com/tig3rbabu)

An interview with renowned visual artist Jacques Perconte where we discuss his work, his approach to and manipulation of the digital image, and filmmaker Stan Brakhage. His work '29 Minutes at Sea' was shown at the 2018 Alchemy Film and Moving Image Festival. The description of the work gives little away as to it's impact. "Because of this violence, the image bleeds. But the red does not remain on the surface of the water." We also make reference to his film 'Ettrick', an interrogation of the Scottish Borders unique textile heritage, and his new immersive video-opera, “Faust”.

We discuss the work of Stan Brakhage, Maya Deren, The Kuchar Brothers, Michael Snow, Jonas Mekas and the history of experimental film. You must have this much mind power to enter! WWW.PATREON.COM/THEIMPORTANTCINEMACLUB We have a PATREON! Join for five dollars a month and get a brand new exclusive episode of ICC every week. This week we discuss Tarantino's Kill Bill. If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com

Sometimes, you need a lil more bro to go with your show, you know? We welcome Justin Crowe, a friend of the podcast who loves Val Kilmer and makes our first (and maybe last?) Stan Brakhage pull. Our next episode will go back to music videos so head to our website to get up to speed on some rad vids. Website: showbrospodcast.com email: showbrospodcast@gmail.com theme: http://freemusicarchive.org/music/Drake_Stafford/SUNDAY/CASETS_-_DRAKE_STAFFORD

"Prepare to feel the wrath of the League of Evil Exes!" After making Shaun of the Dead, Edgar Wright signed on to direct the adaptation of Bryan Lee O’Malley’s graphic novel “Scott Pilgrim’s Precious Little Life” but due to project delays, it would be another six years before his film would hit the screen. In the interim, Wright would continue his Cornetto trilogy with Hot Fuzz and O’Malley would nearly finish writing the other five volumes of his “Scott Pilgrim” series. That time also allowed Wright, O’Malley and screenwriter Michael Bacall to get the screenplay just right. Unfortunately, when the film was released in theaters, it never found its audience. But like any good cult film does, it has since found its legions of fans and supporters, proving that Wright and co. know how to put together a top-notch film even if it loses money at the box office. Join us – Pete Wright and Andy Nelson – as we do our second Listener’s Choice episode of the year with listener Nick Langdon’s pick, Wright’s 2010 film Scott Pilgrim vs. the World. We talk about Wright’s style and all the visual, aural, animated and graphic tricks all through the film that work incredibly well for us, and marvel at how well Wright really taps into the world of these characters. We discuss the actors – from Michael Cera and Mary Elizabeth Winstead to Brandon Routh, Chris Evans and Jason Schwartzman – and look at what they bring to the table. We touch on the production and how all the different departments really came together to deliver something wholly unique. And we chat with Langdon about why he picked this movie and why it’s something special to him. We have a great time discussing this film and everything Wright and team create for us. It’s a marvelous film and one well worth discussing. So check it out then tune in! Film Sundries Hey! If you're reading this, you're a connoisseur of fine film just like we are. Let's take the next step in our relationship! Support us on Patreon for warm feelings, perks, and our great thanks! — http://patreon.com/thenextreel Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork Art of the Title Scott Pilgrim’s Precious Little Box Set — Bryan Lee O’Malley Scott Pilgrim on Comixology Flickchart Letterboxd Scott Pilgrim Alternate Ending Trailers of the Week Andy's Trailer: Woodshock — "Having taken classes in college with the great avant garde filmmaker Stan Brakhage, I have to say I’ve grown a real appreciation for artful films like this one looks like. The story sounds quite depressing but the artfulness of it looks gorgeous. I’m incredibly curious to see this one." Pete's Trailer: To the Bone — "Marti Noxon is behind some of my very favorite episodes of Buffy, Angel, Glee, Private Practice… she’s been all over TV for 25 years. To the Bone is her first feature, written and directed, and based on her history on the small screen that’s all I need to get into this movie. Tough subject, but Keanu’s playing it straight, and Lily Collins looks absolutely terrific."

"Prepare to feel the wrath of the League of Evil Exes!" After making Shaun of the Dead, Edgar Wright signed on to direct the adaptation of Bryan Lee O'Malley's graphic novel “Scott Pilgrim's Precious Little Life” but due to project delays, it would be another six years before his film would hit the screen. In the interim, Wright would continue his Cornetto trilogy with Hot Fuzz and O'Malley would nearly finish writing the other five volumes of his “Scott Pilgrim” series. That time also allowed Wright, O'Malley and screenwriter Michael Bacall to get the screenplay just right. Unfortunately, when the film was released in theaters, it never found its audience. But like any good cult film does, it has since found its legions of fans and supporters, proving that Wright and co. know how to put together a top-notch film even if it loses money at the box office. Join us – Pete Wright and Andy Nelson – as we do our second Listener's Choice episode of the year with listener Nick Langdon's pick, Wright's 2010 film Scott Pilgrim vs. the World. We talk about Wright's style and all the visual, aural, animated and graphic tricks all through the film that work incredibly well for us, and marvel at how well Wright really taps into the world of these characters. We discuss the actors – from Michael Cera and Mary Elizabeth Winstead to Brandon Routh, Chris Evans and Jason Schwartzman – and look at what they bring to the table. We touch on the production and how all the different departments really came together to deliver something wholly unique. And we chat with Langdon about why he picked this movie and why it's something special to him. We have a great time discussing this film and everything Wright and team create for us. It's a marvelous film and one well worth discussing. So check it out then tune in! Film Sundries Hey! If you're reading this, you're a connoisseur of fine film just like we are. Let's take the next step in our relationship! Support us on Patreon for warm feelings, perks, and our great thanks! — http://patreon.com/thenextreel Watch this film: iTunes • Amazon Script Transcript Original theatrical trailer Original poster artwork Art of the Title Scott Pilgrim's Precious Little Box Set — Bryan Lee O'Malley Scott Pilgrim on Comixology Flickchart Letterboxd Scott Pilgrim Alternate Ending Trailers of the Week Andy's Trailer: Woodshock — "Having taken classes in college with the great avant garde filmmaker Stan Brakhage, I have to say I've grown a real appreciation for artful films like this one looks like. The story sounds quite depressing but the artfulness of it looks gorgeous. I'm incredibly curious to see this one." Pete's Trailer: To the Bone — "Marti Noxon is behind some of my very favorite episodes of Buffy, Angel, Glee, Private Practice… she's been all over TV for 25 years. To the Bone is her first feature, written and directed, and based on her history on the small screen that's all I need to get into this movie. Tough subject, but Keanu's playing it straight, and Lily Collins looks absolutely terrific."

Jonas and I talked about refugees and memory, about ambient noise, poetry, the new film I Had Nowhere To Go, and why he's spent a lifetime ignoring Hollywood. For more information on I Had Nowhere To Go (IMDB) and TIFF. Synopsis Internationally acclaimed multimedia artist Douglas Gordon (24 Hour Psycho, Zidane: A 21st Century Portrait) returns to the Festival with this intimate portrait of avant-garde cinema legend Jonas Mekas. "An adventurer can always return home; an exile cannot. So I decided that culture would be my home." Jonas Mekas Internationally acclaimed multimedia artist Douglas Gordon returns to the Festival with an intimate portrait of Jonas Mekas, the legendary poet, film critic, risk-taking curator, "the godfather of the American avant-garde cinema" -- and, at 93 years old, among the remaining few to have escaped and survived Nazi persecution. I Had Nowhere to Go plunges us into both a collective and individual space of memory via long, imageless stretches over which Mekas narrates, in his inimitable voice, excerpts from his memoir (which lends the film its title). An extraordinary life story emerges as the film zigzags between Mekas' early years in a forced labour camp and a Displaced Person centre during WWII and his arrival in New York as a young Lithuanian émigré. With an immersive sound environment and intermittent, fleeting images that stand in evocative juxtaposition to Mekas' anecdotes, Gordon's film reveals in its subject a puckish humour that outweighs despair, and an unabated zest for life that both illuminates and softens the sadness. A deeply moving tribute from one great artist to another and a singular work in its own right, I Had Nowhere to Go has timely resonance today as mass migratory movements are displacing millions of people throughout the world as refugees, exiles, and stateless persons. While Mekas is certainly no ordinary person, the story he tells is a profoundly humble one, as much about daily survival as it is about aspiring to accomplish so much more. Gordon, who is ingenious at activating memory and the cinematic imaginary, compellingly presents quotidian moments outside of Mekas' famous film-related activities in order to reveal the desires, impulses, melancholy, and perseverance that inform Mekas' filmmaking and infectious love of cinema. Even when truly having nowhere to go, Mekas always saw brief glimpses of beauty as he was moving ahead. Biography Jonas Mekas - Writer Jonas Mekas born December 24, 1922, is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. After his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas. In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works. Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to "diaries" such as Walden (1969); Lost, Lost, Lost (1975);Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead. Martin Scorsese said once: "Jonas Mekas is the one that gave me the desire and strength to be a director." Douglas Gordon - Director Douglas Gordon's practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong. Gordon's oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in 2012 the KätheKollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival. In December 2014 Douglas Gordon and pianist Hélène Grimaud have joined forces to explore the beauty of water in an extraordinary performance at Armory on Park, New York. The collaboration continued when Gordon directed the theatre performance Neck of the Woods starring Charlotte Rampling and Hélène Grimuaud at the 2015 MIF - Manchester International Festival, Manchester. Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Untilthen in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv See acast.com/privacy for privacy and opt-out information.

Stan Brakhage and Godfrey Reggio Talk to High School Students: I found an old cassette tape of an interview I made for the print issue Cinemad #2. Avant masters Stan Brakhage and Godfrey Reggio met for the first time at the Telluride Film Festival in 1999 while speaking with high school students attending the fest. I was working there as a projectionist and asked Brakhage for an interview, he suggested I sit in and record this. I turned it into an article but its more interesting as a rediscovered time capsule. Brakhage showed three brand new hand-painted shorts (part of his Persian Series) and Reggio had some of his film clips show with a Phillip Glass tribute. Both were yearly attendees with regular fans, but the kids did not know their work - making for an even better discussion, exploring what their films are and their thoughts on the world at large. The sound quality is ok but raw from the cassette. If you are a static addict, this will sound beautiful. The students asked the questions. Reggio's voice is lower. Stan's is higher pitched and he speaks first.

Awkward Celebrity Encounters: Stan Brakhage by Caveh Zahedi

En nuestro nuevo episodio de Señoras de cine divagamos sin rumbo fijo sobre X-Men: Apocalipsis, Peter Tscherkassky's 'The Exquisite Corpus' , Stan Brakhage, As Mil e Uma Noites, Fatima, Albert Serra, The Story of Film: An Odyssey y más cosas que tendréis que averiguar escuchándolo hasta el final.

In Episode 6, Tod and Cullen discuss Hong Kong exploitation with The Ebola Syndrome (Yau, 1996), American avant-garde with the films of Stan Brakhage, the disease of colonialism, and personal grooming standards of the 1950s!Subscribe on iTunes and leave us a review!https://archive.org/download/ArtsCrassEp.6EbolaSyndromeAndStanBrakhage/Arts&Crass%20Ep.%206%20-%20Ebola%20Syndrome%20and%20Stan%20Brakhage.mp3

Since Andrew can't seem to get the Batman v Superman episode out of his head - the justice is now in the day when it was once just a dawn, of course - he goes back ten years and checks out Bryan Singer's version of a Superman sequel-cum-reboot, SUPERMAN RETURNS. Then, at 21 minutes in, Jack gets to discussing films he's seen over the past two weeks that range from new movies of the independent passion-project variety, brutal thriller-horror, and action-comedy, last year's Oscar bait, the old west of 1950s/60's Hollywood (that remade Japan epics), and all the way back to a Thomas Edison 1-minute short that is still controversial today (and how about some Stan Brakhage while we're at it?) Lots to discuss, and it's all here at the Wages of Cinema! Movies: 1) SUPERMAN RETURNS (2006) 2) THE MAGNIFICENT SEVEN (1960) 3) GREEN ROOM (2016) 4) BLUE RUIN (2014) 5) THE DANISH GIRL (2015) 6) MILES AHEAD (2016) 7) JANIS: LITTLE GIRL BLUE (2015) 8) JOHN WICK (2014) 9) KEANU (2016) 10) DOG STAR MAN (1962-64) 11) TIME CHASERS (MST3K and RIFFTRAX) (1994) 12) ELECTROCUTING AN ELEPHANT (1903) wagesofcinema@gmail.com facebook.com/wagesofcinema twitter.com/wagesofcinema instagram.com/wagesofcinema (intro music is Duke Ellington, outro music is Scott Joplin)

Gregory J. Markopoulos is a key figure in the history of independent film and was, alongside Kenneth Anger, Stan Brakhage, Maya Deren and Andy Warhol, a pioneer of the New American Cinema of the 1960s.

Your host for this edition is Stan BrakhageIt is entitled Genius Without TalentThe ContentFirst Sequence:Mary Love - Born to Live with HeartacheSoft Touch - Plenty ActionSugar Pie DeSanto - Git BackVictor Greene - Creole GirlJeannie Tracy - Trippin' on the SoundSecond Sequence:The King Brothers - Symphony for SusanThe New Faces - If You Love MeDino, Desi and Billy - Thru Spray Colored GlassesCollage - Rainy Blue Memory DayThe Kane Triplets - Buttercup DaysThird Sequence:Sérgio Mendes & Bossa Rio - NeuróticoLuis Carlos Vinhas - BatucadaThe Zimbo Trio - AnoiteceuPaulo Moura - Das tardes mas sosSambalanço Trio - Improviso negroFourth Sequence:1910 Fruitgum Company - Go AwayThe Young Turks - Looky, Looky What I GotThe Saturday Morning Cartoon Show - HayrideThe Sundae Times - Aba AbaThe Candy Rock Generation - 1, 2, 3 Red LightSummation:Nina Simone - Why? (The King of Love is Dead) (live)

What to say about Ken Jacobs? An avant-garde film legend from his early epic film STAR SPANGLED TO DEATH to his Nervous Magic Lantern live performances. Even at just 40 minutes, his new film SEEKING THE MONKEY KING is another epic, combining strong political statements with his incredible use of abstract 3D imagery, showing how a new technology (and tired fad) can be used to create great art in the right hands. Ken’s son, filmmaker Aza Jacobs, sits in and interviews him, covering his past and present work now spanning 50-plus years, his time with Hans Hofmann, Stan Brakhage and Nicolas Ray, and how Ken met Flo. http://www.starspangledtodeath.com/

Richard Deming, lecturer in the Department of English at Yale University, describes the scrapbooks, compiled by Jane Wodening, documenting the work and family life of Wodening and the avant-garde filmaker Stan Brakhage from 1958 to 1967.

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/Episode%204%20-%20Tom%20Powers%20on%20Strange%20Movie%20Theater%20Occurences%20He%20Has%20Experienced.mp3 ()Episode #4, prepared in Santa Cruz, California while Andy is on a “working vacation” there, features an interview with writer, editor and teacher Tom Powers, stories from the Theater Department at Illinois State University and stories about odd things that have happened to Tom in movie theaters far and wide. This episode is about 25 minutes long, and there are some nature photos of Santa Cruz under the keywords, below. Keywords and links for this episode: Santa Cruz, California, Tom Powers, Illinois State University, Normal, Illinois, Steppenwolf Theater Company, Terry Kinney, Jeff Perry, “Nash Bridges,” John Malkovich, Gary Cole, Laurie Metcalf, Sean Hayes, Alcatraz, text messaging, movie theaters, movie theater stories, Seaview Twin, Pacifica, “Jagged Edge,” Glenn Close, Jeff Bridges, “Something Wild,” Ray Liotto, Ira Rothstein, “Blue Velvet,” York Theater, San Francisco, Dennis Hopper, “Solaris,” Wheeler Auditorium, UC Berkeley, Andre Tarkovsky, movie audiences, “Apocalypse Now,” “Bad Boys,” Martin Lawrence, Will Smith, police, Stan Brakhage, James Broughton, Peter Kubelka, “The Godfather, Part 2,” Alexandria Theater, Kenneth Anger, Golden Gate Bridge, suicide, Castro Theater, “Mildred Pierce,” “Jezebel,” “The Lion in Winter,” “The African Queen,” “C***sucker Blues,” The Rolling Stones, Robert Frank, Rialto Theater, South Pasadena, Tim Robbins, “The Bicycle Thief,” “The Player,” “Swing Town,” “Deep Throat,” “The Man From Laramie,” Anthony Mann, Jimmy Stewart.