Showing posts with label film. Show all posts
Showing posts with label film. Show all posts
February 22, 2014
March 26, 2010
August 2, 2009
Valie Export: Invisible Adversaries (1976)
Breaking free of conventional unities of body, space and time, this early feature by one of Europe's leading feminist filmmakers is a haunting excursion into psychic disintegration and crumbling identity. It loosely covers one year in the life of Anna, a young Viennese photographer increasingly convinced that the Hyksos, a hostile alien force, are invading people's bodies and responsible for the decay and rising violence around her. Valie Export skillfully exploits montage and integrates video, performance and installation art with elements from Cubism, Surrealism, Dada and avant-garde cinema.
Via Ubuweb
"Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, ear splitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions." Artforum, Nov. 1980
Posted by kricsfalusi at 10:33 AM 0 comments
Labels: art, film, valie export
November 30, 2008
Valie Export: Adjungierte Dislokationen (1973)
Extract
Expanded Cinema mit seinen intermedialen Techniken, der Interaktion zwischen Material und Akteur und/oder Besucher heißt bei Valie Export oftmals direktes Körperkino. Die Wahrnehmung des Raumes und des räumlichen Kontinuums vermitteln in »Adjungierte Dislokationen I« zwei Super-8-Filmkameras, die an Brust und Rücken montiert sind. Eine dritte 16mm-Filmkamera dokumentiert die parallele und diametral entgegengesetzte Abtastung verschiedener räumlicher Situationen, von einem Zimmer über Gänge, Straße, Platz bis hin zur offenen Natur. Alle drei Perspektiven werden schließlich parallel projiziert, so daß neben der filmischen Darstellung der Umgebung auch der Aufnahmeprozeß dargestellt wird. Dislokation = räumliche Verteilung – adjungiert = Beifügung von dem, was getrennt ist.
Version II – eine »Video-Aktion« von 1973 mit einer Raumplastik (Spirale) – ist für den Kunstraum konzipiert und vollzieht den Wechsel von Film zu Video, indem je 2 Monitore die Bilder als Closed-circuit-Installation übertragen und vier verschiedene Tonkanäle eingespielt werden. Die Gleichzeitigkeit der elektronischen Bilder aus verschiedenen Raumteilen ermöglicht so eine wiederum andere Raumerfahrung, in die das Publikum durch die Kameras mit einbezogen wird.
Medien Kunst Netz (2004): »Export, Valie: Adjungierte Dislokationen I II«.
Posted by kricsfalusi at 12:14 PM 0 comments
Labels: film, koerper, koerperkunst, valie export
October 24, 2008
The Passion Of Joan Of Arc (1928)
Silent film, no soundtrack. French subtitles.
Directed by Carl Theodor Dreyer, with Falconetti and Antonin Artaud.
Posted by kricsfalusi at 10:17 AM 0 comments
October 22, 2008
May 10, 2008
Peter Greenaway: Opera, Film and Death (2001)
Peter Greenaway, director and filmmaker lecturing about video, films, movies, cinema and opera; continuity, dramaturgy, the differences between musical, opera, theatre, and producing, filming, directing; the death of composers Anton Webern, Wolfgang Amadeus Mozart, and John Lennon, the creation of The Death of a Composer: Rosa, a Horse Drama 1999. Peter Greenaway in a free public open lecture for the students of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, 2006 Peter Greenaway.
Peter Greenaway, CBE born 5 April 1942 is a Welsh-born English film director. Peter Greenaway was born in Newport, Monmouthshire, Wales, and grew up in Essex, England. His family left South Wales when he was three years old. At an early age Greenaway decided on becoming a painter. He became interested in European cinema, focusing first on that of Bergman, and then on French Nouvelle Vague film-makers such as Godard, and most especially Resnais.
Peter Greenaway shot the following shorts: Death of Sentiment 1962, 8 min, Tree 1966, 16 min, Train 1966, 5 min, Revolution 1967, 8 min, 5 Postcards From Capital Cities 1967, 35 min, Intervals 1969, 7 min, Erosion 1971, 27 min, H Is for House 1973, 10 min, Windows 1975, 4 min, Water Wrackets 1975, 12 min, Water 1975, 5 min, Goole by Numbers 1976, 40 min, Dear Phone 1978, 17 min, Vertical Features Remake 1978, 45 min, A Walk Through H: The Reincarnation of an Ornithologist 1978, 41 min, 1-100 1978, 4 min, Making a Splash 1984, 25 min, Inside Rooms: 26 Bathrooms, London & Oxfordshire 1985, 26 min, Hubert Bals Handshake 1989, 5 min, Rosa 1992, 15 min, Lumière et compagnie fragment "Peter Greenaway", 1996, 55 sec, The Bridge 1997, 12 min, The Man in the Bath 2001, 7 min, Visions of Europe fragment "European Showerbath", 2004, 5 min.
Director Peter Greenaway produced the following films: The Falls 1980, 185 min, The Draughtsman's Contract 1982, 103 min, A Zed & Two Noughts 1985, 115 min, The Belly of an Architect 1987, 120 min, Drowning by Numbers 1988, 118 min, The Cook, the Thief, His Wife & Her Lover 1989, 123 min, Prospero's Books 1991, 129 min, The Baby of Mâcon 1993, 122 min, The Pillow Book 1996, 126 min, 8½ Women 1999, 118 min, The Tulse Luper Suitcases, Part 1: The Moab Story 2003, 127 min, The Tulse Luper Suitcases, Part 2: Vaux to the Sea 2003, 108 min, The Tulse Luper Suitcases, Part 3: From Sark to the Finish 2003, 120 min, Nightwatching 2007, Untitled Old Testament Project, Augsbergenfeld , 55 Men on Horseback.
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