Otto Muehl (b. 1945) var s1 = new... Audiovisuelle Filmvermittlung. Filme, ihre Ästhetik und ihre Geschichte vermittelt man am besten über Filme.
So logisch das klingt, so auffällig ist doch, dass der größte Teil der Filmvermittlung durch Texte geschieht. Wir schreiben über einen Film, eine Szene, einen Stil und versuchen, mit Worten zu erläutern, was wir zuvor gesehen haben. Dieses Paradox löst sich mit immer häufiger anzutreffenden Formen der audiovisuellen Filmvermittlung auf. Kunst der Vermittlung. Aus den Archiven des Filmvermittelnden Films. Festival Pocket Films. The Mobile Aesthetics of Cell Phone Made Films: a Short History. N December the 2 nd 2011, newspaper The Guardian announced the theatrical release in Los Angeles of by director Hooman Khalili, the “first feature film shot entirely on a smartphone” (a Nokia N8) [1] . Less than a year ago, the same newspaper announced the first short film shot entirely with the new iPhone 4, by Korean director Park Chan-wooks which was released 27 th January in South Korean cinemas [2] .
However, mobile movie-making [3] , -this is the practice of shooting a movie with a mobile phone device-, is not a 2011 phenomenon but a film practice that was born in 2005, when the first built in cameras were incorporated to cell phones. The first films shot with mobile phones appeared between 2005-2006. One of them is feature film (2005-2006) by South African director Aryan Kaganof. This film is regarded as a revolutionary alternative way of making films with the limitations imposed by the mobile phone. {*style:<b> 17_CBL_001 - SMS <i>Sugar Man </i>(A.Kaganof - 2005/6) </b>*}
Kenneth Anger. MFJ: Expanded Cinema and Narrative. Some Reasons for a Review of the Avant-Garde Debates Around Narrativity Printed in MFJ No. 39/40 (Winter 2003) Hidden Currents In the second half of the twentieth century the history and theory of experimental film and video was written with a bias towards modernist material concerns stemming from Clement Greenberg’s modernist position and material specific ideas.
Similar to other art forms, a schematized formal history has been predominant, with rules laid down in various texts about which artists followed whom. Although it is not materially film or video, I aim here to discuss how interactive moving image practice and its ancestors, expanded cinema, media and performance, have been excluded from the main theoretical arguments that have shaped the histories of experimental film and video. What is cinema if it is not film? A further influential essay of its time was Peter Gidal’s 1976 "Theory and Definition of Structural/Materialist Film.
"’ Experimental Cinema - Home. In its yearly festival, Courtisane 2014 (April 2-6, Ghent, Belgium) presents a kaleidoscopic mosaic of styles, media, gestures, languages and emotions; a patchwork of recent and historical works that share an insatiable hunger for experimentation, a personal signature, and a sense of resistance.
Nathanial Dorsky. Intermittence. Nathaniel Dorsky: Devotional Cinema. Kathleen Tyner (author of Literacy in A Digital World), writes of this book as follows: "Devotional Cinema, reprised from filmmaker Nathaniel Dorsky's lecture on religion and cinema at Princeton University, is a rare treasure of penetrating insight into the language of film.
In a compelling style, somewhere between a Zen koan and a Victorian love story, Devotional Cinema makes the case for mindful viewing as a transcendent experience. In the process, Dorsky reflects upon the role of filmmaking in faith, prayer, pleasure, and the renewal of the human spirit. For Dorsky, the material nature of film illuminates a path to devotion. Devotional Cinema is a guide for makers and viewers who, like Dorsky, seek the 'elemental glory' of film.
" In this perspicacious text, Nathaniel Dorsky discusses the conjunction of religion and film from the vantage of a devotee. Dog Star Man - Part 1 (1962) Stan Brakhage on Veehd. Einige Links zum Experimentalfilm. Stan Brakhage: DOG STAR MAN - PRELUDE. Kubelka-Arnulf Rainer. Paul Sharits - N:O:T:H:I:N:G (Excerpts) Amateur der Weltgeschichte - Historiographische Praktiken im Kino der Gegenwart. Film als Amateur-Medium der Geschichtsschreibung zu begreifen, bedeutet in zweierlei Hinsicht nach Grenzen zu fragen: nach jenen einer offiziellen Disziplin, die sich auf den gleichen Erkenntnisbereich spezialisiert hat (»Geschichte«), und solchen einer ästhetischen Praxis, die auch nach den jüngeren Digitalisierungsschüben immer noch auf den Namen »Film« hört.
Inwiefern tritt die mediale Spezifik des Films gerade in historiographischen Verwendungsweisen besonders deutlich hervor? Wie lassen sich Formen geschichtlichen Wissens fassen, die im Off der Institution generiert werden und nur filmästhetisch vermittelt vorstellbar sind?