Isabelle Tollenaere's The Remembered Film (2018) is exclusively playing on Mubi from March 5 - April 4, 2020 in Mubi's Brief Encounters series. There are a few elements that led to the making of this short film. It was foremost remembering the very young British war reenactors I had once seen at a reenactment festival in England when working on my previous film Battles. How I was taken aback and moved by them, because they so clearly reminded me of all these young people that have been sent and are still send off to war today, while the boys I saw were merely playing war.Then there were two books. Paul Virilio's War and Cinema: The Logistics of Perception, in which he writes about the many connections between the two, one of them being the element of spectacle. How "war can never break free from the magical spectacle because its very purpose is to produce that spectacle.
- 3/12/2020
- MUBI
Thirty Years of Motion Pictures (The March of the Movies)The breadth of programming at the International Film Festival Rotterdam allows something glorious: room for others to build their own domains, unique pockets of how to view cinema and, through it, the world. Sound//vision is one such place, a corridor of exciting, variable programming happening each night in such a way that an attendee could only do that and have a rich, expanded festival experience. There are other pockets of curation in the 2019 program as well: a profile of African-American artist Cauleen Smith, profiles of directors Charlotte Pryce (which included two lovely live slideshow performances) and Edgar Pêra, and a tantalizing section devoted to spy cinema which adroitly ranges over the mainstream to the arthouse, from Hollywood to the Czech Republic to South Korea, from 1928 to 2018. And then there is the “Laboratory of Unseen Beauty,” a series whose code word,...
- 1/31/2019
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAnnette Michelson, one of the foremost film scholars and illuminating minds on the avant-garde, has sadly left us at the age of 96. Artforum offers a thoughtful remembrance, including a round-up of links to Michelson's Artforum contributions.French philosopher and cultural theorist Paul Virilio passed earlier this month. Scholar McKenzie Wark has penned a lovingly thorough of the man and his works for Frieze.Recommended VIEWINGIn the event of Criterion Collection's new release of Terrence Malick's masterpiece, The Tree of Life (which includes a new cut of the film!), they have shared a special feature which offers rare insights into the ethereal cosmological imagery and special effects. Watch it here.An evocative, even minimal trailer for Her Smell, Alex Ross Perry's and Elizabeth Moss' joint exploration of a unhinged '90s rockstar is here.
- 9/25/2018
- MUBI
Second #5311, 88:31
1. This frame is from around twelve seconds into a thirteen-second shot, just before the screen goes black. Jeffrey sobs. The unflinching, unmoving camera eye does not look away. There is no soundtrack. There is nothing ironic or postmodern about this moment.
2. Paul Virilio, from his book Open Sky:
‘If anyone thinks I paint too fast, they are watching me too fast,’ Van Gogh wrote. Already, the classic photograph is no more than a freeze frame. With the decline in volumes and in the expanse of landscapes, reality becomes sequential and cinematic unfolding finally gets the jump on whatever is static.
3. Rendered at a low frame rate (below) the shot in question suggests Jeffrey’s jagged brokenness. In order not to watch too fast maybe we ought to watch differently, deforming the film to correspond to its own portrayal of psychological torment and deformity.
4. David Lynch, from an interview...
1. This frame is from around twelve seconds into a thirteen-second shot, just before the screen goes black. Jeffrey sobs. The unflinching, unmoving camera eye does not look away. There is no soundtrack. There is nothing ironic or postmodern about this moment.
2. Paul Virilio, from his book Open Sky:
‘If anyone thinks I paint too fast, they are watching me too fast,’ Van Gogh wrote. Already, the classic photograph is no more than a freeze frame. With the decline in volumes and in the expanse of landscapes, reality becomes sequential and cinematic unfolding finally gets the jump on whatever is static.
3. Rendered at a low frame rate (below) the shot in question suggests Jeffrey’s jagged brokenness. In order not to watch too fast maybe we ought to watch differently, deforming the film to correspond to its own portrayal of psychological torment and deformity.
4. David Lynch, from an interview...
- 5/14/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #2538, 42:18
Frank has arrived, banging on the door. The fact that we anticipated his arrival makes it no less terrifying. Jeffrey—naked—has been shuttled into the closet, while Dorothy ditches the knife behind the radiator, in one of Blue Velvet’s many sly, tension-breaking references to Eraserhead. In Art and Fear, Paul Virilio reminds us that the coming of sound in film in the late 1920s effectively transformed silence into something alien, almost a special effect:
Yet one crucial aspect of this mutation of the seventh art has been too long ignored and that is the arrival of the talkies. From the end of the 1920s onwards, the idea of accepting the absence of words or phrases, of some kind of dialogue, became unthinkable. The so-called listening comfort of darkened cinema halls required that hearing and vision by synchronized.
In a universe just one Higgs boson particle different from ours,...
Frank has arrived, banging on the door. The fact that we anticipated his arrival makes it no less terrifying. Jeffrey—naked—has been shuttled into the closet, while Dorothy ditches the knife behind the radiator, in one of Blue Velvet’s many sly, tension-breaking references to Eraserhead. In Art and Fear, Paul Virilio reminds us that the coming of sound in film in the late 1920s effectively transformed silence into something alien, almost a special effect:
Yet one crucial aspect of this mutation of the seventh art has been too long ignored and that is the arrival of the talkies. From the end of the 1920s onwards, the idea of accepting the absence of words or phrases, of some kind of dialogue, became unthinkable. The so-called listening comfort of darkened cinema halls required that hearing and vision by synchronized.
In a universe just one Higgs boson particle different from ours,...
- 12/14/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #1974, 32:54
What does it mean to speak of the cinematic image in the age of cinematic images? This frame, captured from the 2002 DVD edition of Blue Velvet, isn’t really even a frame; its relationship to the 35 mm source film is ambiguously fraught with the complications of digital coding. For one thing, if the film has been Mpeg-2 compressed, what has been lost? The information in the frame leaks in and out, depending on our viewing medium of choice, so that we experience the digital image not so much through presence, but through absence. Spatial and temporal compression: the door to Dorothy’s apartment, the carved-out rectangle beneath #710 like a movie screen within the frame. In The Vision Machine, Paul Virilio writes that
sight comes from a long way off. It is a kind of dolly in, a perceptual sctivity that starts in the past in order to illuminate the present,...
What does it mean to speak of the cinematic image in the age of cinematic images? This frame, captured from the 2002 DVD edition of Blue Velvet, isn’t really even a frame; its relationship to the 35 mm source film is ambiguously fraught with the complications of digital coding. For one thing, if the film has been Mpeg-2 compressed, what has been lost? The information in the frame leaks in and out, depending on our viewing medium of choice, so that we experience the digital image not so much through presence, but through absence. Spatial and temporal compression: the door to Dorothy’s apartment, the carved-out rectangle beneath #710 like a movie screen within the frame. In The Vision Machine, Paul Virilio writes that
sight comes from a long way off. It is a kind of dolly in, a perceptual sctivity that starts in the past in order to illuminate the present,...
- 11/14/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
“Film Criticism no longer has any meaning, it is reality we must analyze in a cinematic way.” – Hanns Zischler
There’s nothing more inducive of genuine pathos than a man who is bored with a franchise. Inevitably, he starts skeezin’ “his” subordinate labor, loses the things that are dear to him, and suffers in multiple paternity suits. Michael Bay is bored. How awesomely pathetic! What sort of industrial filmmaker are you, man? Yamada Yoji made forty-eight Tora-san movies, pal, and you can’t even push out three without whining like the free-spirited Wesleyan bluestocking you are in your crippled soul. You’ve even lost the truest dear, Armond White: “Now, there’s no poetry; just idiotic, unintelligible machine combat. While it easily out-astonishes Chris Nolan’s glum Inception, it defames the action-movie tradition and embarrasses the talent that makes Bay a great filmmaker.” Too much wild ink spilled in the...
There’s nothing more inducive of genuine pathos than a man who is bored with a franchise. Inevitably, he starts skeezin’ “his” subordinate labor, loses the things that are dear to him, and suffers in multiple paternity suits. Michael Bay is bored. How awesomely pathetic! What sort of industrial filmmaker are you, man? Yamada Yoji made forty-eight Tora-san movies, pal, and you can’t even push out three without whining like the free-spirited Wesleyan bluestocking you are in your crippled soul. You’ve even lost the truest dear, Armond White: “Now, there’s no poetry; just idiotic, unintelligible machine combat. While it easily out-astonishes Chris Nolan’s glum Inception, it defames the action-movie tradition and embarrasses the talent that makes Bay a great filmmaker.” Too much wild ink spilled in the...
- 10/23/2011
- MUBI
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