Despite making decades of fascinating film work and playing a pivotal role at Binghamton by founding the film department and bringing Ken Jacobs onboard, Larry Gottheim remains an under-celebrated figure in the American avant-garde. With Fog Line (1970)—an 11 minute single-take of fog slowly rising in a meadow, trees asymmetrically clustered, framed by telephone wire—he found a semblance of universal acclaim in the underground. The “first period” of Gottheim’s work (of which Fog Line is a crucial part) takes an approach largely inspired by the stoic film observations of Andy Warhol, a rubric of silence and static framing which trains […]
The post Duration and Velocity: An Interview with Larry Gottheim first appeared on Filmmaker Magazine.
The post Duration and Velocity: An Interview with Larry Gottheim first appeared on Filmmaker Magazine.
- 9/6/2022
- by Ruairí McCann and Maximilien Luc Proctor
- Filmmaker Magazine - Blog
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe official poster for the the 54th Directors' Fortnight is by multidisciplinary artist Cecilia Paredes. In a statement, the festival points out that Paredes' photo-performance is "both visible and invisible, the artist blends into the image she creates, much like filmmakers do in their films." Following the release of Joel Coen's The Tragedy of Macbeth, Ethan Coen is setting out to make his own solo directorial debut with a still-untitled "lesbian road trip project that Coen and [his wife, Tricia Cooke] initially wrote in the mid-2000s." Gus Van Sant is set to direct the second season of Ryan Murphy's anthology series Feud, which will be based on Laurence Leamer's book Capote’s Women: A True Story of Love, Betrayal, and a Swan Song for an Era. Playing one such woman will be Naomi Watts,...
- 4/6/2022
- MUBI
This is an article about the second issue of the avant-garde arts zine Idiolects. An article on the first issue can be read here.
For a small publication with no advertising to support it, publishing on a quarterly basis was an ambitious and impressive achievement for Idiolects. This second issue covers avant-garde happenings in New York City from August to November 1976, primarily film, but not exclusively.
While again there is special thanks given to the Collective for Living Cinema in issue #2’s indicia, there’s no indication that the Collective was providing financial support. The first issue had a cover price of 10 cents, but the second issue has no price and offers a complicated subscription scheme where potential subscribers are invited to send in whatever amount they want that Idiolects would deduct the price for each issue until subscribers’ accounts reach zero.
This issue also actively encourages submissions from authors...
For a small publication with no advertising to support it, publishing on a quarterly basis was an ambitious and impressive achievement for Idiolects. This second issue covers avant-garde happenings in New York City from August to November 1976, primarily film, but not exclusively.
While again there is special thanks given to the Collective for Living Cinema in issue #2’s indicia, there’s no indication that the Collective was providing financial support. The first issue had a cover price of 10 cents, but the second issue has no price and offers a complicated subscription scheme where potential subscribers are invited to send in whatever amount they want that Idiolects would deduct the price for each issue until subscribers’ accounts reach zero.
This issue also actively encourages submissions from authors...
- 3/25/2018
- by Mike Everleth
- Underground Film Journal
In a festival whose dedication to celluloid is readily apparent, why not declare it directly? And so one of the Vienna International Film Festival's Special Programs this year is a bastion of that most wonderful format, 16mm film. Programmed by Katja Wiederspahn and Haden Guest with an admirably variegated range, the programs were gathered around collective films, war films, sex films, expanded cinema, and more. Key to the section's expanse, which begins in the 1920s and touches every decade between here and there, is also in highlighting new work done in this increasingly outmoded, "out of date," and unprojectionable format. Included amongst these are films every bit as exciting as the history and canon "Revolution in 16mm" touches on: Jodie Mack's Razzle Dazzle (written about here), Richard Touhy's masterpiece of color Ginza Strip, and, most excitingly, a quartet of new films by Nathaniel Dorsky, the film poet who makes...
- 11/3/2014
- by Daniel Kasman
- MUBI
Landscape becomes digital in Richard Kerr‘s minimalist and hypnotic experimental film pictures of sound. Although the camera was set to record the islands just off of Vancouver, the actual image is so washed out and indistinct, land, water and air are reduced to basic color gradations. Every once in awhile, a boat enters the picture with its arrival punctuated by unnatural digital blurt, accentuating the man-made object’s intrusion into the natural order of things. Except, the image has become so degraded, nothing seems natural any more.
Kerr was one of the early members of the Escarpment School film movement in Canada in the late ’70s and ’80s that was centered around activity at Sheridan College. The Escarpment School was a loosely defined group of filmmakers joined by a similarity in themes based around an exploration of landscape and its effect on the personal. A few of Kerr’s own films,...
Kerr was one of the early members of the Escarpment School film movement in Canada in the late ’70s and ’80s that was centered around activity at Sheridan College. The Escarpment School was a loosely defined group of filmmakers joined by a similarity in themes based around an exploration of landscape and its effect on the personal. A few of Kerr’s own films,...
- 2/12/2011
- by Mike Everleth
- Underground Film Journal
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