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@Ronceraille
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annoyed that every film must now be retrofitted to conform to today's visual fashions.
Below: Rivette's 1976 film Duelle, before and after its latest restoration
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Steve Albini's passing has gotten me to reflect on why I care so little for contemporary indie music, and I think it has to do with the lack of any oppositional ethos. Every musician now seems to be an aspiring entrepreneur. "Our brand could be your life."
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the most correct approach to film programming
“Many of the films that I selected I have not seen. From a selfish perspective, I just want to see them!” -Apichatpong Weerasethakul on the selections in the retrospective that he himself did not make 😆
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the most memorable part of visiting is the clerk who checks your bags on the way out, and the table of confiscated bones right behind her
The Paris Catacombs has one of the greatest warning signs ever conceived
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it's particularly annoying in the case of Duelle because it interferes with the visual opposition between the silver moon goddess (Berto) and Golden sun goddess (Ogier). In the restoration, they both become shades of yellow.
annoyed that every film must now be retrofitted to conform to today's visual fashions.
Below: Rivette's 1976 film Duelle, before and after its latest restoration
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Straub was one of the most lucid filmmakers when speaking about his work. I like returning to his words in Ellen Oumano's book Film Forum. Of all the filmmakers interviewed, he has by far the clearest ethics of making cinema: toward his sources, his audience and his collaborators
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apparently it also has much to do with the house styles of different restoration labs, who brand their work with proprietary color schemes.
See
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In my experience as a film goer, the event-ification of rep screenings does encourage a diminished respect for the screening part of the event
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goofiest thing about Brakhage was him going into the woods to practice with the camera
footage from Brakhage on Film (1965) by Arnold Gassan
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Hollywood: 1 week
European Arthouse: 1 week
Third Cinema: 1 week
Structuralist film: 10 weeks
Popular cinemas: 1 week
Someone who's good at teaching please help me design this syllabus.
my students are dying
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i've been screening random 16mm prints for friends in my living room and no matter how faded the color or how boring the film, there is always something compelling in the projected film image that has no digital equivalent. there is an apparitional quality—something is present
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Hbd Kenneth Anger. Used to see him regularly around Hollywood Blvd and at rep screenings. once I made the mistake of trying to talk to him
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belated thoughts for Pascale Ogier, who arrived and departed in late October. In so few films she made such an indelible mark
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A couple anecdotes about HD video:
1) I heard a Sony preservationist talk about working on a 4k version of Gentlemen Prefer Blondes. Checking a pass with a high level of grain removal, he thought, "Was Hawks always such a bad editor?"...
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i likely won't finish my dissertation on Chris Marker's series of travel books, but I may someday finish assembling them
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2018 was an annus mirabilis for francophone Marker enthusiasts, when after six years of absence his presence was everywhere through the Cinémathèque's collection and the appearance of many new publications. Another six years and 2024 looks like the anglophone echo. A cat's grin.
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Chris Marker's background in popular education is evident in his still photography. A favorite subject was everyday people absorbed by works of art. It's especially prominent in his photos from the USSR that he included the Petite Planète guide
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I visited the Film and TV Institute of India in Pune a few days after Kumar Shahani passed. He and generations of filmmakers have learned, taught, and agitated among these buildings
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instead of working on my dissertation i made an animated timeline of the various editions of common introductory film textbooks
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This might be the only tennis film so far to cite Deleuze and Serge Daney.
I'm really into Faraut's critical meta-cinema. See also his very inventive film on Chris Marker's Olympia 52
At the opposite end of the spectrum from Challengers (regarding tennis films), I'd highly recommend Julian Faraut's John McEnroe: In the Realm of Perfection. A doc that blend tennis with cinema in fascinating, almost avant-garde ways. We cover it here:
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"This film is so much slower and less funny than I remembered!" He did another pass that kept most of the grain. The picture came back to life—it moved at a clip and the gags were funny again. The visual rhythms and textures of the grain were essential to its temporal rhythms.
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I've been showing Stephen Dwoskin's 1971 film GIRL when I teach Mulvey, as it was made in conversation with her and her developing ideas, but maybe I do him a disservice. It becomes difficult to receive it as anything but a deliberately bad object. The students always hate it
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A few of the mystifications currently clouding the discourse were effectively addressed by David E. James in his Allegories of Cinema:
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Sure, you feel let down by would-be feminist ally Tarkovsky. Take comfort: he will never hurt anyone as much as he did Brakhage, who arranged a private screening of his works for the master only to hear "this is shit"
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I've been reading about Michèle Firk, the inspiration for the left-wing Positif critic desired by Luc Moullet's pathetic, Cahiers-aligned stand-in in his film Les Sièges de l'Alcazar.
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The reduction of all moving-image works to "content" was inevitable when they became separable from their material carrier
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Besides Mr. Thank You, 35 Rhums and Paterson, what are films about public transport workers—the real heroes of contemporary society?
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my most insane sincere opinion is that movie theaters are good public spaces and that hastening their end by pretending home viewing options are adequate substitutes is an affront to society
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my favorite footage is of him bumping into thing while in a filming trance
from For Stan (2009) by Marilyn Brakhage
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With Anger we lose one of the last connections to the heroic age of avant-garde cinema. Seeing him speak in public convinced me of his brilliance and charisma; encountering him in person, his wickedness. Rise, Lucifer
It is with deep sadness that we mourn the passing of visionary filmmaker, artist and author Kenneth Anger (1927–2023).
Kenneth was a trailblazer. His cinematic genius and influence will live on and continue to transform all those who encounter his films, words and vision.
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Sembène's Mandabi has one of the most astonishing match cuts. Even though I know it's coming, it's so smooth that it takes a second to register. The surprise forces attention to the gendered divisions of labor that undergird the narrative—a very Brechtian touch
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2) On the Simpsons, many interior locations (esp. old ones like the house) featured walls that were just solid colors. In SD close-ups, it didn't create a problem, but when they switched to the harsh clarity of HD, the sense of space was eradicated. The characters looked flat...
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now that the process of moving has begin in earnest, I must say goodbye to the most comfortable space I have even lived in
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like they were cut-outs pasted on the surface of the screen. All the backgrounds had to be redesigned with random spots, chips and stains so that when we lost dimensional cues like floors and ceilings, it would still look like the character standing in front of a wall, not a void
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This is why Godard is such a formative influence on so many of us. His films teach us to engage art in a total way, inseparable from history and politics. The beauty we find, especially in his late work, is a grace that sustains us
You must not only watch but read about them, their production and the political ideologies that inform them. But that means each watch can reveal something new! I have been rethinking Godard for as long as I have been watching movies. His work grows richer where others' fades.
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Enjoyed Noël Burch's memoir. It tracks three related narratives: his conversion from apolitical aesthete to committed Communist, his rejection of high-modernist abstract formalism in favor of more popular and social aspects of art, and his sexual fetish for women martial artists.
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Méliès did it better
"Ant-Man 3" cost $200 million dollars and THIS is the result? "Elvis" looks like it cost $200m but it was only $85m. I've seen better visual effects in Jib-Jab videos
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The post-digital decrease in filmgoing intensified a problem that has always plagued the medium, and which has over the decades bedeviled us with remedies like the Q+A: its ambiguous, and from some perspectives insufficient, degree of liveness
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I once heard that the film industry tried to protect its investment in sound by characterizing silent films as silly and primitive (producing short nostalgia compilations that presented clips at the wrong speed, etc). The result was the neglect and permanent loss of many films
#TheGrayMan
co-director Joe Russo calls it "an elitist notion to be able to go to a theater. It’s very fucking expensive. So, this idea that was created — that we hang on to — that the theater is a sacred space, is bullshit."
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Wrapped up my seminar on Experiments in Documentary and the biggest take-away is how effective Isidore Isou's Traité de bave et d'éternité remains at totally annoying and alienating its audience. We watched it nine weeks ago and students are still complaining.
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Some recent critics complain of its narrative opacity, but it could be that what should be visually evident is now muddled
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MUTUALS IN CHICAGO:
I am having an open house sale of hundreds of books, DVDs, and records this Sunday, Dec. 4!
Prices range from $0.50-$5, most $2
Cash preferred
Complimentary beer (while supplies last)
DM me for details
Help unburden me from years' worth of over-accumulation!
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Always affected by the opening of Sochaux 11 juin 1968, made by a collective of filmmakers and factory workers under the name Groupe Medvedkine de Sochaux. The film commemorates one of the deadliest events in France in 1968, when police fatally attacked striking auto workers.
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The show had long since abandoned 35mm, but the qualities of SD broadcast images still gave dimension to the drawings. In HD, this was lost.
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My very first week in Chicago corresponded with this (to me) unexpected and awe-ful light. Almost a decade later, it is still how I recall the city in my mind's eye
Chicagohenge is almost here. It’s most spectacular downtown and on main drags, but even in side streets—and in alleys—even looking east—we can appreciate how the Grid connects Chicagoans to the celestial.
@robertloerzel
@KathleenMRooney
@_GXM
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A most exciting mail day courtesy of medimops. I would ask, who could part with these treasures? But then I remember how moving across countries and continents has shaken me loose of so many things I held dear, and am reminded that I am but their temporary custodian
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Le mépris (1963, Godard), Blood and Black Lace (1964, Bava)
Was this a set at Cinecittà? I wonder what other films used it
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Happy birthday to Edith, both around this date ten years ago
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to be clear, the real villain of contemporary visual culture is Roger Deakins, whose success has so influenced the accepted idea of what a movie looks like that even William Lubtchansky (RIP) is forced to catch up
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Seminar prep. Really curious how students will respond to these texts
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I worked the concession stand for a midnight screening of 2001 where some acid trippers danced nude in front of the screen during the stargate sequence. An angry USC grad student demanded a refund, but he should've asked it from his school as he will never understand cinema
#Barbie
has packed theaters with people in pink. It’s really an unforgettable movie-going experience.
What are some of your favorite movie-going moments you’ve ever experienced?
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Incredibly sad. Such an important, charismatic figure in the Los Angeles film world and beyond. I just realized the other day that I had been carrying her business card in my wallet for the last four years.
Terribly sad to hear of the passing of the indefatigable writer, curator & professor Bérénice Reynaud. Whether writing on Hou or Akerman or defending emerging artists, she was always a force & inspiration. Love to her family, friends & colleagues at CalArts, REDCAT and more. ❤️
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i love it when people post their shelves but I'm worried that no one else integrates their books and movies
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three times now I've seen budding filmmakers insist on Twitter that they are not auteurists and that authorship of their short film is collective, and in all three cases their films begin with an "a film by..." card, asserting sole authorship
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FIAF declares new standard for film preservation to be mkv ripped from a home video release
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We are all vulgar Bazinians now
Some things never change. Snowball fight 124 years ago. Lyon, France, 1896. Colorized and speed adjusted. Original in black and white by Louis Lumiere.
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weirdest dream I've had in a while: I was a production assistant on a music video for Shanin Blake directed by Andrei Tarkovsky
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Her memory endures. Godard dedicated an episode of Histoire(s) to her. In Montreuil, on the site of Georges Méliès's old film studio, is a radical cafe-bookstore named after her. Historians Sébastien Layerle and Caroline Moine are working on a documentary about her.
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@sm_osment
We may tolerate Twitter turning into whatever x is, but we will never tolerate it turning it into gradcafe
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Happy Father's Day to my dad, pictured here on the left circa 1972, during the brief period when he worked on the edges of the film industry. Last Christmas he offhandedly mentioned that he ran camera on Albert Pyun's never-completed 1978 production Sagan
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I wish i was there! I really admire this kind of DIY initiative that activates a community—it's an inspiration for us everywhere. You can do it too!
It is unreal that we pulled off a 51-film Brakhage festival. Bro I’m a high school teacher and I’ve barely programmed anything before 😭😭😭 Thanks to everyone who came out, especially those who traveled far for this. I love y’all. Here’s a clip from Dark Night of the Soul (2001)
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Bequeathing my leftover books to the department grad lounge, even though none of the students read physical books anymore. To be fair, I didn't read that many of these either
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Montluc prison in Lyon, from which André Devigny escaped in 1943 when it was being used by the Gestapo to punish captured résistant(e)s and Jews. Robert Bresson adapted his memoir into A Man Escaped
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Time rolls back again. The moment returns.
1931, Lee Miller.
1947, Saul Leiter
1951, René Groebli
1962, Chris Marker
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Among his other virtues and accomplishments, Dean Stockwell spent the late-60s and early 70s living with Toni Basil at the center of the Topanga Canyon scene, and did the narration for Thom Anderson's documentary on Eadweard Muybridge
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My most woo-woo belief is a faith that with patience and vigilance I will find any book I need for a nominal or at least very affordable price
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future trends in online cinephilia:
-watching scans of unstretched cinemascope prints
-watching scans of individual technicolor separation masters
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they're uploading rips of movies online in where there appear edge lettering, sprocket holes, dust particles, etc.
they're uploading rips of movies online from 35mm open matte prints
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Not into colorizations and AI upscaling but I do have a soft spot for Ken Jacobs-style alchemy that turns time into space
As Chantal Akerman's D'EST (1993) consists largely of lateral tracking shots, I figured I could make a passable 3D version by staggering the L & R video channels by 1 frame. Wasn't prepared for how moving I'd find the result! 🫠
5min sample for VR / 3DTV:
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it's not just undergrads. PhDs in Cinema and Media departments are trying to drop film history from the required courses because they aren't interested. I get that it needs to be rearticulated as part of a larger context, but it remains a useful foundation for new media studies
Film and TV professors, do you get the sense that your students are watching *less* film and tv? Outside of the basic niche-ification of viewing. Like less consumption as a whole, and especially for those who are majoring/minoring in the field.
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Celebrating one extraordinary, eventful, and lightning-quick year married to
@sun_in_the_belly
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Line Describing a Cone presented during Tage des Experimentellen Films, Frankfurt on September 10th
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In the 60s she went to Guatemala to fight with guerrillas against the murderous, US-backed government. She was peripherally involved in the botched kidnapping of US Ambassador John Gordon Mein and, when faced with arrest and torture, chose suicide.
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"You can, you must, film by chance. If a leaf falls through your very precise frame, you must keep it in. But the thing that happens by chance must be in contradiction to something that is the opposite of chance."
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@petravoncant
His only acknowledgement was to stare with contempt and then haughtily ignore me. On brand, 10/10
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The conflation of "preservation" with "access" drives me nuts, especially since so many seem to have accepted "preservation" on the terms of the corporate media industry, meaning we should be content to lose whatever doesn't translate across successive re-mediations
Piracy talk is so funny because it’s like whatever man, do what you want and I certainly get if you’re in another country w/o options but some of you on here talk like you’re Scorsese, preserving film when it’s like, you just wanted to see the movie. It’s ok to say that
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@LoneberryWang
As a student, I really appreciated fewer readings: I could read them twice, and would be rewarded with a focused class discussion. I resented having to skim thru a whole bibliography (usually in signature courses, where the prof is having us retrace their own research)
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i get disappointed when i ask a barista at the third-wave roastery what music they're playing and they have no idea because it's an automated spotify playlist. in my day we took that part of the job very seriously
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"You must always know what you yourself think. Otherwise you can't frame. And it's only when you know what you think that you have the right to show a film to people, so they have a chance to know, by the distance and the frame, what you think of what you film."
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