Stars have chosen their alliances between beefing female rappers Nicki Minaj and Remy Ma.
Selena Gomez lip-synced and jammed out to Minaj’s response song “No Frauds” in her friend Ashley Cook’s Instagram story on Friday — and the Queens Mc took notice.
Minaj, 34, posted video on Instagram of Gomez 00 as well as vids of Ariana Grande, Jhene Aiko and Tinashe — listening to her song and supporting Minaj amid her feud with Ma.
“What’s funny about this, is that all 4 of them look so sweet & innocent to me but they’re all low key savages I guess Lol,” Minaj...
Selena Gomez lip-synced and jammed out to Minaj’s response song “No Frauds” in her friend Ashley Cook’s Instagram story on Friday — and the Queens Mc took notice.
Minaj, 34, posted video on Instagram of Gomez 00 as well as vids of Ariana Grande, Jhene Aiko and Tinashe — listening to her song and supporting Minaj amid her feud with Ma.
“What’s funny about this, is that all 4 of them look so sweet & innocent to me but they’re all low key savages I guess Lol,” Minaj...
- 3/11/2017
- by Karen Mizoguchi
- PEOPLE.com
As an educator, I’m constantly cycling through the history of animation on a zoetrope hamster wheel, noting how each technical development re-investigates the same fundamental principles set forth by painting, literature, theatre, photography, or any method of communication and presentation. The constantly evolving modes of production in cinema foreshadowed our economy of planned obsolescence via a quest for re-perfection. As revealed by animation historians like Donald Crafton and Maureen Furniss, principles of Taylorism—standardized animation production methods spawning uniform products—governed industry practices. This model re-packages pre-existing modes/products with advances in technology. In this case: 3D is sound; 3D is color; 3D is analog/Sd/HD/2K/4K/6K/Xk video; 3D is IMAX; 3D is new media. I ask my students: have you ever noticed that life is actually in 3D? For me, an obscure and underground experimental animator, cinema is about learning or remembering how to see,...
- 5/11/2015
- by Jodie Mack
- MUBI
If you want to make a successful pitch video for a crowd funding campaign, ensure it has a sizzling start, exudes happiness and empathy and avoids melodramatic or overly emotional language.
Among the other prerequisites: Keep it simple, use an on-camera presenter who is passionate and demonstrates trustworthiness, and try to ensure the viewer can relate to the central themes of the video.
Those are among the conclusions from a study conducted by Jessica Milne for her thesis for the Master of Screen Arts and Business program at Aftrs. Milne presented her paper From the Heart to the Hip-Pocket at a function at Aftrs on Thursday evening.
She tested 10 pitch videos for international documentaries that each sought $US50,000 for completion funding, five from successful campaigns and five from unsuccessful campaigns.
Testing was carried out with focus groups and via a survey of 199 respondents. The study incorporated an applied neuroscience test...
Among the other prerequisites: Keep it simple, use an on-camera presenter who is passionate and demonstrates trustworthiness, and try to ensure the viewer can relate to the central themes of the video.
Those are among the conclusions from a study conducted by Jessica Milne for her thesis for the Master of Screen Arts and Business program at Aftrs. Milne presented her paper From the Heart to the Hip-Pocket at a function at Aftrs on Thursday evening.
She tested 10 pitch videos for international documentaries that each sought $US50,000 for completion funding, five from successful campaigns and five from unsuccessful campaigns.
Testing was carried out with focus groups and via a survey of 199 respondents. The study incorporated an applied neuroscience test...
- 4/30/2015
- by Don Groves
- IF.com.au
The 2nd annual Haverhill Experimental Film Festival features a powerhouse lineup of fantastic short films and one killer feature. It runs May 29–June 1 above the Tap Brewing Company in Haverhill, Massachusetts.
The fest opens on the 29th with a trio of special program events, including a live Super 8mm film performance by Richard Fedorchak, followed by Jodie Mack‘s autobiographical rock animated documentary Dusty Stacks of Mom and assorted Mack handmade films, then ending with live musical scoring of silent films curated by Bob Beal.
The next night, May 30, is not to be missed with two programs of short films that include two incredible standout, award-winning films. First is Kent Lambert‘s masculine video game and pop culture meditation Reckoning 3; second is Mike Olenick‘s gorgeously creepy supervillain serial killer drama Red Luck.
The one feature film of the festival screens on June 1 and is Last Stop, Flamingo, another entry...
The fest opens on the 29th with a trio of special program events, including a live Super 8mm film performance by Richard Fedorchak, followed by Jodie Mack‘s autobiographical rock animated documentary Dusty Stacks of Mom and assorted Mack handmade films, then ending with live musical scoring of silent films curated by Bob Beal.
The next night, May 30, is not to be missed with two programs of short films that include two incredible standout, award-winning films. First is Kent Lambert‘s masculine video game and pop culture meditation Reckoning 3; second is Mike Olenick‘s gorgeously creepy supervillain serial killer drama Red Luck.
The one feature film of the festival screens on June 1 and is Last Stop, Flamingo, another entry...
- 5/29/2014
- by Mike Everleth
- Underground Film Journal
Above: New Fancy Foils
My new favorite filmmaker is the American animator Jodie Mack. In 2012 I was in the audience at the Views from the Avant-Garde sidebar of the New York Film Festival and had the unexpected experience of dropping my jaw and having it remain fully in that position throughout the surface loveliness and aggregating intensity—both analytic and sensual—of Mack's lace flicker film Point de Gaze. Its young filmmaker has been making films since 2003—several of which are viewable on her website—with a flurrying productivity which belays the painstaking efforts taken to bring her animated films to life. The screening was the revelation of incredible talent, a moving effort of hands and mind, and it promised a great deal for the future.
That promise had already paid off in spades at the 2014 International Film Festival Rotterdam in January, which presented a program of Mack's recent short films not as a profile,...
My new favorite filmmaker is the American animator Jodie Mack. In 2012 I was in the audience at the Views from the Avant-Garde sidebar of the New York Film Festival and had the unexpected experience of dropping my jaw and having it remain fully in that position throughout the surface loveliness and aggregating intensity—both analytic and sensual—of Mack's lace flicker film Point de Gaze. Its young filmmaker has been making films since 2003—several of which are viewable on her website—with a flurrying productivity which belays the painstaking efforts taken to bring her animated films to life. The screening was the revelation of incredible talent, a moving effort of hands and mind, and it promised a great deal for the future.
That promise had already paid off in spades at the 2014 International Film Festival Rotterdam in January, which presented a program of Mack's recent short films not as a profile,...
- 5/11/2014
- by Daniel Kasman
- MUBI
Taking place from April 8-13, the 31st edition of the Dortmund | Cologne International Women’s Film Festival will have it’s main program in the city of Cologne. A small selection will be seen in Dortmund as well. A total of 106 films from 37 countries will be screened and about 60 international filmmakers are going to be guests in Cologne. The festival will also be putting on a number of events that go beyond what a normal visit to the cinema has to offer. Events intended to spark a critical response to the medium of film via a number of formats – panel discussions, talks and workshops for cinema aficinados and film-makers alike.
Five Germany Premieres Compete for €10,000 Prize
A total of eight exceptional debut feature films will be screened in Cologne, having been short-listed from the 120 international film debuts of the last two years. Of that eight, the festival will present five of them as firsts for Germany – including, as the opening film, the award-winning tragicomedy The Amazing Catfish from Mexico. The other nominees are: Talea (Austria), The Magnetic Tree (Chile), Sense of Humor (France), Matei Child Miner (Romania), Marussia (Russia/France), Under the Starry Sky (Senegal/France) – and The Plague (Spain). Mostly seen against the backdrop of the global economic crisis, shot with stunning visuals and told with surprising concision, these are stories of childhood, family, identity and belonging.
The Jury for this edition will be formed by Kim Yutani, programmer at the Sundance Film Festival, Turkish director Pelin Esmer ( 10 to 11, Watchtower) and German actress Julia Hummer (Gespenster, Top Girl)
Focus: Turkey
At the Cologne location of the Dortmund|Cologne International Women's Film Festival, the spotlight is always on the cinematic oeuvre of a particular region or country. This year, the encounter is with Turkey and its women filmmakers.
The Country Focus zooms in on the ongoing demonstrations and protest movements organized by Turkish citizens since the end of May 2013 against the authoritarian policies of the governing party in Turkey. The program thus sets out to analyze the concepts and definitions of home and identity and to examine to what extent current protests had already been anticipated there in the films of recent years.
Divided into ten programs the festival will present feature films, documentaries and short films from 2004 to 2013 as well as the historic feature film Dönüs (The Return 1972) by and with the great Turkish actress Türkan Soray.
Filmmakers and experts like Deniz Akçay, Pelin Esmer, Serpil Turhan, Rüya Arzu Köksal Kudu, Aysun Bademsoy, Lale Akgün, Mely Kiyak, Can Erdogan, Emel Celebi, Sedef Özge and Güliz Saglam will also be guests. Two panel discussions, a master class with Yeşim Ustaoğlu and the photo exhibition "Tarlabasi - On the Edge of Transformation"round off the programme as a whole.
Let Your Light Shine - The Panorama section
Beyonce, Vulva 3.0 and other top-rate film discoveries. Panorama showcases 45 new, challenging and entertaining films from 28 countries.
Fiction, documentary, essay, avant-garde, experimental films and all the shorter formats: there are no formal restrictions on the Panorama Section and all lengths of movie are welcome. This year, 13 long films and 32 short to medium-length films are on view, including a good few premieres for Germany.
In the course of the selection process, it is the attitude of the women film-makers, the way they represent people in their films and the effect so generated that play an important role. Yet even though the Panorama section attempts to do full justice to the variety of artistic forms of expression, documentary and experimental films are given some priority. Among these are films like Perfect Garden by Mara Mattuschka, Touch by Shelly Silver, Noor by Cagla Zencirci, My Love Awaits Me By The Sea by Mais Darwazah and Rock the Casbah by Laïla Marrakchi and a film program & live performance by Jodie Mack, just to mention a few...
Five Germany Premieres Compete for €10,000 Prize
A total of eight exceptional debut feature films will be screened in Cologne, having been short-listed from the 120 international film debuts of the last two years. Of that eight, the festival will present five of them as firsts for Germany – including, as the opening film, the award-winning tragicomedy The Amazing Catfish from Mexico. The other nominees are: Talea (Austria), The Magnetic Tree (Chile), Sense of Humor (France), Matei Child Miner (Romania), Marussia (Russia/France), Under the Starry Sky (Senegal/France) – and The Plague (Spain). Mostly seen against the backdrop of the global economic crisis, shot with stunning visuals and told with surprising concision, these are stories of childhood, family, identity and belonging.
The Jury for this edition will be formed by Kim Yutani, programmer at the Sundance Film Festival, Turkish director Pelin Esmer ( 10 to 11, Watchtower) and German actress Julia Hummer (Gespenster, Top Girl)
Focus: Turkey
At the Cologne location of the Dortmund|Cologne International Women's Film Festival, the spotlight is always on the cinematic oeuvre of a particular region or country. This year, the encounter is with Turkey and its women filmmakers.
The Country Focus zooms in on the ongoing demonstrations and protest movements organized by Turkish citizens since the end of May 2013 against the authoritarian policies of the governing party in Turkey. The program thus sets out to analyze the concepts and definitions of home and identity and to examine to what extent current protests had already been anticipated there in the films of recent years.
Divided into ten programs the festival will present feature films, documentaries and short films from 2004 to 2013 as well as the historic feature film Dönüs (The Return 1972) by and with the great Turkish actress Türkan Soray.
Filmmakers and experts like Deniz Akçay, Pelin Esmer, Serpil Turhan, Rüya Arzu Köksal Kudu, Aysun Bademsoy, Lale Akgün, Mely Kiyak, Can Erdogan, Emel Celebi, Sedef Özge and Güliz Saglam will also be guests. Two panel discussions, a master class with Yeşim Ustaoğlu and the photo exhibition "Tarlabasi - On the Edge of Transformation"round off the programme as a whole.
Let Your Light Shine - The Panorama section
Beyonce, Vulva 3.0 and other top-rate film discoveries. Panorama showcases 45 new, challenging and entertaining films from 28 countries.
Fiction, documentary, essay, avant-garde, experimental films and all the shorter formats: there are no formal restrictions on the Panorama Section and all lengths of movie are welcome. This year, 13 long films and 32 short to medium-length films are on view, including a good few premieres for Germany.
In the course of the selection process, it is the attitude of the women film-makers, the way they represent people in their films and the effect so generated that play an important role. Yet even though the Panorama section attempts to do full justice to the variety of artistic forms of expression, documentary and experimental films are given some priority. Among these are films like Perfect Garden by Mara Mattuschka, Touch by Shelly Silver, Noor by Cagla Zencirci, My Love Awaits Me By The Sea by Mais Darwazah and Rock the Casbah by Laïla Marrakchi and a film program & live performance by Jodie Mack, just to mention a few...
- 3/31/2014
- by Sydney Levine
- Sydney's Buzz
The 21st annual Chicago Underground Film Festival, which will run April 2-6 at the Logan Theater, will be extra special this year. Why? Because Mike Everleth, the Executive Editor of the Underground Film Journal, is sitting on this year’s festival jury! And looking over the fest lineup below, he is incredibly excited to witness this visual extravaganza of revolutionary cinematic madness. (Other jurors are Brian Chankin, Therese Grisham and Alison Cuddy.)
Opening Night Film: What I Love About Concrete is the debut feature by the directing team of Katherine Dohan and Alanna Stewart and is a surreal suburban tale about a teenage girl who believes she is transforming into a swan.
Closing Night Film: Usama Alshaibi will be making his triumphant return to Chicago with his latest documentary, American Arab, a personal and sociological examination of what it means to be an Arab in a post-9/11 United States. This...
Opening Night Film: What I Love About Concrete is the debut feature by the directing team of Katherine Dohan and Alanna Stewart and is a surreal suburban tale about a teenage girl who believes she is transforming into a swan.
Closing Night Film: Usama Alshaibi will be making his triumphant return to Chicago with his latest documentary, American Arab, a personal and sociological examination of what it means to be an Arab in a post-9/11 United States. This...
- 3/28/2014
- by Mike Everleth
- Underground Film Journal
Below you will find our total coverage of the 2014 International Film Festival Rotterdam by our two attending critics, including reports on films by Tiger competitors, Aleksei German, Takashi Miike, the best of the festival's experimental short films, and retrospectives on German director Heinz Emigholz and Danish director Nils Malmros.
By Daniel Kasman
Festival Hold 'Em
On Charlotte Pryce's A Study in Natural Magic, Shiloh Cinquemani's Blue, Esther Urlus's Konrad & Kurfurst, Tomonari Nishikawa's 45 7 Broadway, Takashi Miike's The Mole Song: Undercover Agent Reiji
Projectile Bombardment
On Aleksei German's Hard to Be a God, Heinz Emigholz's D'Annunzio's Cave (2005), Richard Touhy's Dot Matrix, Esther Urlus's Chrome, Makino Takashi and Telcosystems' Deorbit, Tine Frank's Colterrain, Jodie Back's Let Your Light Shine
Deep Breaths
On the retrospective on German documentarian Heinz Emigholz, including films Sullivan's Banks (2000), Maillart's Bridges (2001), Goff in the Desert (2003), Parabeton - Pier Luigi Nervi and Roman Concrete (2012), Two Museums,...
By Daniel Kasman
Festival Hold 'Em
On Charlotte Pryce's A Study in Natural Magic, Shiloh Cinquemani's Blue, Esther Urlus's Konrad & Kurfurst, Tomonari Nishikawa's 45 7 Broadway, Takashi Miike's The Mole Song: Undercover Agent Reiji
Projectile Bombardment
On Aleksei German's Hard to Be a God, Heinz Emigholz's D'Annunzio's Cave (2005), Richard Touhy's Dot Matrix, Esther Urlus's Chrome, Makino Takashi and Telcosystems' Deorbit, Tine Frank's Colterrain, Jodie Back's Let Your Light Shine
Deep Breaths
On the retrospective on German documentarian Heinz Emigholz, including films Sullivan's Banks (2000), Maillart's Bridges (2001), Goff in the Desert (2003), Parabeton - Pier Luigi Nervi and Roman Concrete (2012), Two Museums,...
- 2/4/2014
- by Notebook
- MUBI
Bombardment!
Bombardment: textures. If you, like many, have been waiting so many years for Soviet/Russian master Aleksei German (My Friend Ivan Lapshin; Khrustalyov, My Car!) to finish what, upon the director's passing last year, has ended up being his final film (with finishing touches by his wife and co-writer Svetlana Karmalita and his son Aleksei German Jr.), you will have to embrace muck. You will have to swim in shit, slather yourself with grime, dirt, and water, enrobe yourself in filthy fog, feel roughened leather, splintered wood, caked and hardened cloth, rusted and creaky iron armor; you will have to embrace the damp, dank, dirty opus of cinema that is Hard to Be a God. It is cinematic texture taken to an extreme.
Based on a 1964 novel by the Strugatsky brothers (literary sources for Tarkovsky's Stalker and Aleksandr Sokurov's Day of Eclipse, among other adaptations), its barely sci-fi...
Bombardment: textures. If you, like many, have been waiting so many years for Soviet/Russian master Aleksei German (My Friend Ivan Lapshin; Khrustalyov, My Car!) to finish what, upon the director's passing last year, has ended up being his final film (with finishing touches by his wife and co-writer Svetlana Karmalita and his son Aleksei German Jr.), you will have to embrace muck. You will have to swim in shit, slather yourself with grime, dirt, and water, enrobe yourself in filthy fog, feel roughened leather, splintered wood, caked and hardened cloth, rusted and creaky iron armor; you will have to embrace the damp, dank, dirty opus of cinema that is Hard to Be a God. It is cinematic texture taken to an extreme.
Based on a 1964 novel by the Strugatsky brothers (literary sources for Tarkovsky's Stalker and Aleksandr Sokurov's Day of Eclipse, among other adaptations), its barely sci-fi...
- 1/30/2014
- by Daniel Kasman
- MUBI
From its humble beginnings six years ago, Mono No Aware has grown into a major annual expanded cinema event, as well as a wonderful organization promoting a deep appreciation for the art of filmmaking.
The 7th annual edition of Mono No Aware’s signature event will screen for two nights at Lightspace Studios in Brooklyn, New York on December 6 and 7. Both nights feature one-time-only cinematic performances utilizing 16mm, 8mm and 35mm film projection, as well as “alternative light” projections, performed live by filmmaking artists.
The one performance that the Underground Film Journal highly recommends is Jodie Mack‘s “Let Your Light Shine,” featuring an abstract animated film watched through special prismatic glasses worn by audience members. The Journal experienced a screening of “Let Your Light Shine” in Los Angeles that we considered might be the future of cinema.
Other performances include, also on the 6th, a return by Mono No Aware regular Joel Schlemowitz,...
The 7th annual edition of Mono No Aware’s signature event will screen for two nights at Lightspace Studios in Brooklyn, New York on December 6 and 7. Both nights feature one-time-only cinematic performances utilizing 16mm, 8mm and 35mm film projection, as well as “alternative light” projections, performed live by filmmaking artists.
The one performance that the Underground Film Journal highly recommends is Jodie Mack‘s “Let Your Light Shine,” featuring an abstract animated film watched through special prismatic glasses worn by audience members. The Journal experienced a screening of “Let Your Light Shine” in Los Angeles that we considered might be the future of cinema.
Other performances include, also on the 6th, a return by Mono No Aware regular Joel Schlemowitz,...
- 11/25/2013
- by Mike Everleth
- Underground Film Journal
At a Q&A session on October 14 at the RedCAT Theater in Los Angeles following a screening of the film cycle “Let Your Light Shine: Handmade Films,” animator Jodie Mack put forth a concept that, while very simple and obvious, puts an interesting perspective on the current state of the moving image.
The five films in the “Handmade Films” cycle, all done by Mack, are all produced — and were screened — in 16mm film. They include the epic autobiographical animated musical Dusty Stacks of Mom, which is surrounded by four shorter, abstract works: New Fancy Foils, Undertone Overture, Glistening Thrills and Let Your Light Shine. All of the pieces, with possibly the exception of the last film, acts as a meditation on the handcrafted, tactile nature of art and film, which is a nature that is slowly vanishing via a digital demise.
It was perhaps in response to a question...
The five films in the “Handmade Films” cycle, all done by Mack, are all produced — and were screened — in 16mm film. They include the epic autobiographical animated musical Dusty Stacks of Mom, which is surrounded by four shorter, abstract works: New Fancy Foils, Undertone Overture, Glistening Thrills and Let Your Light Shine. All of the pieces, with possibly the exception of the last film, acts as a meditation on the handcrafted, tactile nature of art and film, which is a nature that is slowly vanishing via a digital demise.
It was perhaps in response to a question...
- 10/25/2013
- by Mike Everleth
- Underground Film Journal
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