Photo by Sophie BeeIn the display window of a used record store, you can see covers for albums that don’t exist. They bear titles like Flaming Creatures or Heaven and Earth Magic, familiar to aficionados of experimental film, alongside lurid designs by local artist Tom Carey. This exhibit can mean only one thing: the film festival has come to Ann Arbor. Just down the block is the Michigan Theater, which has been operating since 1928. For one week every spring, its spacious main auditorium and cozy screening room host an intimidating array of avant-garde programming. The selections are eclectic in subject matter, submitted from all over the world, and interspersed with recently restored prints of older works. This practice means that no presentation is predictable. The only constant that carries across the festival is the artists’ collective push against the traditional boundaries of their medium.An example of this ethos...
- 4/8/2016
- by Alice Stoehr
- MUBI
Before its flame was extinguished, New York’s legendary Kim’s Video contributed further to the world of cinephilia by polling better-known customers about their favorite films. One of these customers happened to be Allen Ginsberg, a figure whose relative lack of experience in cinema certainly won’t stand as any sort of qualifier. Thanks to The Allen Ginsberg Project (via Open Culture), we can now get a wider — and, to our eyes, more immediately understandable — grasp of what made this generation-defining voice tick.
Two interests — French Poetic Realism and the work of (or at least work heavily relating to) his fellow Beat poets — announce themselves rather clearly, given the fact that they arguably occupy 90% of the final list. The sole “outsider” is Battleship Potemkin, a picture that, with fierce political intentions and poetic inclinations in its cutting, nevertheless makes perfect sense as a Ginsberg favorite. Some of these are...
Two interests — French Poetic Realism and the work of (or at least work heavily relating to) his fellow Beat poets — announce themselves rather clearly, given the fact that they arguably occupy 90% of the final list. The sole “outsider” is Battleship Potemkin, a picture that, with fierce political intentions and poetic inclinations in its cutting, nevertheless makes perfect sense as a Ginsberg favorite. Some of these are...
- 12/7/2015
- by Nick Newman
- The Film Stage
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