1. Film Theory Ch 3 The Face and the Mirror


    from Thomas Elsaesser Added 1,553 62 4

    This video essay, drawn from chapter 3 ('Cinema as Mirror: The Face and Close-Up'') of Thomas Elsaesser and Malte Hagener's 'Film Theory: an Introduction Through the Sense' (Routledge, 2nd edition, 2015), investigates elements of film theory that highlight the close-up and the face in the films of Ingmar Bergman. Premissed as the book is on the assumption that great films 'think' their own conditions of possibility, the video essay gives a meta-cinematic dimension to a filmmaker's apparently personal themes and private obsessions.

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    • "I Want You To See": The Ontology of Stan Brakhage


      from Ava Burke Added 26 1 0

      As Gilles Deleuse famously argued, film exists as form of becoming in which matter, motion, and consciousness are inseparably intertwined. The medium is capable of eluding the Cartesian division between subject and object, instead functioning as a philosophical mechanism with its own epistemological imperatives. The experience of making, viewing, and studying film can change our ways of seeing. In the cinema, 'seeing' is not an act of sensory perception alone. It is neither purely mental nor haptic; neither conscious nor subconscious; but rather an act of holistic consciousness in which, as Thomas Elsaesser and Malte Hagener point out, "the brain and body function as a single indivisible whole." Such matters of ontology and holistic subjective experience are central themes in the work of avant-garde filmmaker and artist Stan Brakhage. In subject-matter, Brakhage's works are often concerned with human subjectivity and its limits; film theorist Fred Camper writes, "every moment that appears to valorize the affections, the moods [of the subjective experience], is balanced by a sense that the work itself is in danger of coming apart, that its beauty and unity are fragile, that its making acknowledges its own destruction." As Camper suggests, the 'mind' of Brakhage's films lies at the intersection of form and content—or, perhaps within the argument that there is indeed no distinction between the two whatsoever. For Brakhage, the practice of filmmaking was a way to come to an understanding about how and whether to continue living; through his manipulations of the medium, we can see that, far from just being a mode of representation, film has a being unto itself. Video essay produced for Cinema Theory + Practice at Parsons, Spring 2015.

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      • Post-Cinema-5-Hansen


        from Shane Denson Added 45 0 0

        Mark B. N. Hansen, "Speculative Protention, or, Are 21st Century Media Agents of Futurity?" (SCMS 2015). More info here: http://wp.me/p1xJM8-Gx

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        • Post-Cinema-4-Ivakhiv


          from Shane Denson Added 38 0 0

          Adrian Ivakhiv, "Speculative Ecologies of (Post)Cinema, or, The Art of Morphogenesis: Cinema in & beyond the Capitalocene" (SCMS 2015). More info here: http://wp.me/p1xJM8-Gq

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          • Abridged Love Stories


            from Christina Yglesias Added

            Abridged Love Stories by Christina Yglesias is a super-montage of eye contact between lovers in romance movies. Double takes, smoldering stares, and almost-kisses weave together a surprisingly intact narrative that reveals the conventions of the genre's visual language. The footage is drawn from one hundred years of Hollywood's history, with one archetypal film representing each decade. The score was performed by musician Nick Wang as an improvised score for the video's premiere at The Great Wall of Oakland on April 3rd, 2015.

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            • Reception & Suspension of Cinema. Audiovisual Essay by Lia Hermann


              from Lia Haribo Added 5 0 0

              "Man sieht, es ist im Grunde die alte Klage, daß die Massen Zerstreuung suchen, die Kunst aber vom Betrachter Sammlung verlangt." Walter Benjamin in "Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit" (1934/35) [Please excuse the bad quality]

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              • Post-Cinema-3-Pisters


                from Shane Denson Added 31 0 0

                Patricia Pisters, "The Filmmaker as Metallurgist: Post-Cinema's Commitment to Radical Contingency" (SCMS 2015). See here for more info: http://wp.me/p1xJM8-G2

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                • Daze in the Life


                  from Martha Gilleece Added 26 0 0

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                  • Bronson - Psychology and Symbolism


                    from Cinema Psychobabble Added 1,693 74 14

                    Bronson is an incredibly intricate film by Nicolas Winding Refn. I recently saw the movie for the first time and immediately knew it had to be the subject of my first full blown film analysis series. A lot of people compare this movie to Stanley Kubrick's A Clockwork Orange and I can certainly see why. Not only are the stories relatively similar, both Kubrick and Refn create their films meticulously as if they were building a maze of complexity that appears polished and clean on the surface. This video is intended for educational purposes only and all copyrighted material falls under "fair use" in US copyright laws. I try my best not to be subjective during my analysis, but allow me to say here that I believe this film to be incredibly well put together. I urge everyone to watch Bronson in its entirety before viewing my video essay. As promised, here is a link to my most recent short film, Grave Dream: https://vimeo.com/112509270 Support me on Patreon and I'll keep the videos coming: https://www.patreon.com/cinemapsychobabble

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                    • CARNAL LOCOMOTIVE


                      from Catherine Grant Added 620 5 0

                      Published in NECSUS: European Journal of Media Studies, Spring, 2015. Online at: http://www.necsus-ejms.org/film-studies-in-the-groove-rhythmising-perception-in-carnal-locomotive/, where you can also read the accompanying text: "Film studies in the groove? Rhythmising perception in Carnal Locomotive." For Vivian Sobchack. Thanks also to David Cairns, Gordon Hon, David Sorfa, Benjamin Sampson, Chiara Grizzaffi, Bartek Dziadosz, Richard Elliott, Ian Garwood, Kevin B. Lee, audiences at the Jarman Lab "Embodied Mind" Masterclass (Birkbeck, University of London) and the Glasgow Short Film Festival symposium 2015, and especially to Adrian Martin and Cristina Álvarez López. FOR STUDY PURPOSES ONLY BODIES/IMAGES LE JOUR ET L’HEURE/THE DAY AND THE HOUR (1963; directed by René Clément; cinematography by Henri Decae). TEXTS Claude Lévi-Strauss, TRISTES TROPIQUES.1959/1963, 59-60. In the amended translation by Boris Wiseman, LEVI-STRAUSS, ANTHROPOLOGY, AND AESTHETICS (Cambridge: Cambridge University Press, 2007), 47. AND Steven Shaviro, THE CINEMATIC BODY (Minneapolis: University of Minnesota Press, 1993), 255-256. Both quotations are centrally cited by Vivian Sobchack in her book CARNAL THOUGHTS: EMBODIMENT AND MOVING IMAGE CULTURE (Berkeley: University of California Press, 2004), vi & 61. MUSIC: HALLON by Christian Bjoerklund. Licensed under an Attribution-NonCommercial-ShareAlike 3.0 International License. Online at: http://freemusicarchive.org/music/Christian_Bjoerklund/Skapmat/christian_bjoerklund_-_skpmat_ep_-_01_-_hallon. THANKS to David Cairns for ‘Shakes on a Train’, SHADOWPLAY, February 4, 2015. Online at: https://dcairns.wordpress.com/2015/02/04/shakes-on-a-train/. VIDEO: Catherine Grant, 2015

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