Cinemad podcast #9: Vanessa Renwick

podcast #9: Vanessa Renwick:

Filmmaker Vanessa Renwick takes the term "do-it-yourself" seriously. She has made films since the early 1980s, and we mean made them: writing, filming, editing, and even processing the film by hand. 30 years and films and videos later, she has created portraits of people, life and landscapes, with great images and strong ideas, both fun and insightful. We talk about her movies and longtime hometown of Portland, but more about hitchhiking and wolves.

all podcasts are available here for streaming or download, and on iTunes for free under Cinemad.
Bookended by "I Was A Teenage Werewolf" by The Cramps
Vanessa's official website: www.odoka.org


DVD of her work coming soon:
www.kickstarter.com/projects/841274803/north-south-east-west-dvd-films-by-vanessa-renwick

The Gospel According to St. Matthew (1964) - Pier Paolo Pasolini

Been reading about adaptations lately and I found this on YouTube. Now I will have to stop reading.

Ai Weiwei: Sunflower seeds

The most impressive use of the Turbine Hall at Tate Modern that I have seen.

W.M. Hunt presents "The Unseen Eye"

Renowned collector W.M. Hunt discusses the Museum's current exhibition, 'The Unseen Eye: Photographs from the W.M. Hunt Collection'. The exhibit, one of the largest in Eastman House.

I was fortunate to have Mr. Hunt select 6 of my photographs for an exhibit at the Center for Photography at Woodstock in 2005.

TateShots: Tony Oursler

There is a playfulness to how he works which is something to try for.

Expanded Cinema:Activating the Space of Reception

Expanded Cinema: Activating the Space of Reception.
Works identified as Expanded Cinema often open up questions surrounding the spectator's construction of time/space relations, activating the spaces of cinema and narrative as well as other contexts of media reception. In doing so it offers an alternative and challenging perspective on filmmaking, visual arts practices and the narratives of social space, everyday life and cultural communication.

Derek Jarman "The last of England"

I was reading about this film in William Verrone's Adaptation and the Avant-Garde: Alternative Perspectives on Adaptation Theory and Practice

Pipilotti Rist on her working methods

Pipilotti Rist on her working methods

Susan Sontag and Agnès Varda Interview (1969)

At the seventh annual New York Film Festival in 1969. Interview by Newsweek film critic Jack Kroll.

No longer appropriate? via the Art Newspaper

Really interesting article on how Sherrie Levine and Jeff Koons stopped or changed their appropriation practices.

No longer appropriate?: Artists who “appropriate” the work of others are increasingly coming into conflict as a slew of recent cases involving artists including Shepard Fairey, Ryan McGinley and Thierry Guetta (“Mr Brainwash”) demonstrates. Now, in the Court of Appeals for...

TateShots: Maurice Sendak

I had this in the queue before the news of Mr. Sendak's passing. I didn't like much of the movie "Where the wild things are" but appreciated his letting go of the book to allow for the adaptation.

Free Radicals - A History of Experimental Film (Excpert)

Christian Marclay -Telephones (1995)

Before the Clock there was Telephones ... and he has a full YouTube channel

Tacita Dean Film at the Tate Modern 2011 negative cutting

For all my friends who love the smell of emulsion and the feel of celluloid.

Peter Mays Oral History Excerpt

Peter Mays discusses the making of Star Curtain (1966).

Links to Star Curtain Tantra below

Nan Goldin I'll Be Your Mirror Documentary Part One

Barbara Hammer on Maya Deren

Ms. Hammer traces the influence of Maya Deren to her own work.

On Throwing a Film Festival - via LUX

On Throwing a Film Festival - Blog - LUX

"Personally I disagree with all attempts to ‘raise the level of public taste’.  I think we have our work cut out satisfying the demand for entertainment at a high level that already exists.  "

Margaret Tait 

If Movies Didn’t Play Forward: Toni Dove, R. Luke Dubois Make Gestural Live Cinema

via Peter Kirn

If Movies Didn’t Play Forward: Toni Dove, R. Luke Dubois Make Gestural Live Cinema:
What if film, rather than being projected from start to finish and proceeding in a straight line, could be reconstructed and performed? Every live visual performance involving video has more or less asked that question. But not every performance tries to convey a narrative in the process.

IFFR Critics Talk 28-01-2011 | The Dorsky Tapes

Diane Arbus (documentary, 1972)

Is Photography Over?: SFMOMA Overlapping use of still and moving images

In Person: P. Adams Sitney on the rarity of real film screenings

Jean-Marie Straub & Danièle Huillet: THE CHRONICLE OF ANNA MAGDALENA BACH

From Real Musicians in Fiction Films via girish

Video below

Straub/Huillet’s The Chronicle of Anna Magdalena Bach (1968) is surely one of the richest, most thought-provoking fiction-documentary hybrids in the history of cinema. The film documents by means of documents — notated scores, letters, engravings, drawings, maps — not all of them “authentic” (e.g. Anna’s diary, which forms the core of the voiceover narration). The documentary quality is enhanced by the way in which the filmmakers respect the wholeness and integrity of the musical performances by recording and filming them in their entirety, without cuts, a practice that defies industry norms in both cinema and music.

The result of these sustained, single-take musical performances by actual musicians — prime among them the recently deceased Dutch harpsichordist Gustav Leonhardt, who plays Bach — is the way in which our concentration becomes sharpened and focused on the smallest details of music-making: its labors, its gestures, its accidents.

Straub commented on this in a 1968 interview with Filmkritik magazine:

They say when people saw Le déjeuner de bébé or L’arroseur arrosé by Lumière, they didn’t cry out: Oh! bébé is moving, or l’arroseur is moving. They said, the leaves are moving in the trees. The bébé who moved they had already seen in the magic lantern. What was new for them was precisely that the leaves were moving. The “leaves” in the Bach film are the fingers and hands of the musicians and the unbelievable gestures of Leonhardt…

Q&A Nathaniel Dorsky & Gavin Smith Views from the Avant-Garde, New York Film Festival

Pier Paolo Pasolini DOCUMENTARY

I think this was included on the DVD set of Salo.