THE ANONYMOUS POSTING,
above, I did not write. -- Dan S.
: where curators write.
Posted by Dan Streible at 11:12 AM 0 comments
This week's topic triggered many thoughts for me on the connections between "found"
footage and what post-modern choreographers have called "found movement". Both seemingly originating in the 1960s artistic circles, and especially in New York City, they suggest that one could go on a scavenger hunt and gather bits and pieces of "stuff" and make a collage out of them. Choreographers "collect" pedestrian movements, such as walking, sitting, standing, or jumping, and gestures from everyday life and insert them into their work, repositioning these fragments within a different context. Where the two practices differ of course is in the nature of the material collected and its pseudo-availability.
Filmmaker Craig Baldwin makes the distinction between using archival footage and "found" footage. He claims that even though there is an overlap between the two, his films use found materials: "I make what I have work, I call it 'availabilism'" (Baldwin in interview). This distinction is one that suggests that the process of obtaining footage and its final purpose are rather different. How does one "find" footage vs. "buy" footage (Baldwin mentions the cost of footage going up)? Found-footage proper comes from private collections, junk stores, garbage bins, and is seen as detritus, while archival-footage is clearly saved for a reason, protected and not free.
What are the ethics of this re-purposing, or recycling, of material? Tilly Walnes, writing about the shift to "finding" footage online, proposes that such collages can no longer really qualify as "found footage", rather they are more like "recycled moving image collages". These "mash-ups" seem to move away from the previous tradition of artisanal filmmaking, using film as a plastic art, and the availability of materials online becomes increasingly dependent on what certain websites are willing to release at no cost. Guy Debord's ideas of détournement and Michael Zyrd's article, which focuses on the impact of found-footage films on history, both demonstrate that re-purposing, in other words re-contextualizing, fragments of film is a political act.
To conclude, I bring as an example a recent experimental dance video: Snow (2003) made by British filmmaker David Hinton and choreographer Rosemary Lee. The 8 minute black and white video is composed entirely of archival footage of people moving on snow or ice, from 1860-1960. What might the video's project be in terms of presenting movement "found" on film? How is it choreographing history? How "available" was this movement?
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Posted by Dan Streible at 10:52 AM 0 comments
Posted by Dan Streible at 8:33 PM 0 comments
NYU's Department of Cinema Studies presents
This event is free and open to the public.
Wavemakers (2012, 96 min., dir. Caroline Martel)
A preview screening with filmmaker Caroline Martel
Following the legacy of Maurice Martenot's wondrous electronic musical instrument.
"Amazing! A film as beautiful and tender as the instrument itself."
– Jonny Greenwood, composer, multi-instrumentalist (Radiohead)
Wednesday, April 24, 6:15pm
NYU Tisch School of the Arts
Department of Cinema Studies
721 Broadway, 6th Floor, Michelson Theater
Screening followed by a discussion with the filmmaker.
Moderated by Dan Streible (NYU Cinema Studies).
About the film:
WAVEMAKERS (2012, 96 min., dir. Caroline Martel)
View the trailer
After its international premiere at the Rotterdam Film Festival, and a four-week theatrical run in Montréal, Caroline Martel's latest documentary gets a preview screening at NYU's Department of Cinema Studies.
Wavemakers pursues the legacy of an electronic musical instrument as fragile as it is magical: the Ondes Martenot. The Martenot is indeed so sensitive, so expressive, that nearly a century after its invention, musicians, artisans and scientists are still trying to unravel its secrets. Among them are the inventor's son, Jean-Louis Martenot, Suzanne Binet-Audet, the "Jimi Hendrix of the Martenot", and Jonny Greenwood of Radiohead.
Integrating vérité, never-before-seen archival material and an entrancing soundtrack, this feature documentary explores the origins and workings of the Martenot, and draws us inexorably into its spell. A modern-day story set against a historical background, Wavemakers is a journey into the very heart of the mystery of music.
With Wavemakers, Caroline Martel returns with the signature approach that turned her first feature doc about telephone operators into a "non-stop visual and intellectual stimulation… an enormously creative documentary." (Variety). She pursues her fascination with culture and technology, using her distinctive blend of humanism, lyricism and experimentation.
About the filmmaker:
Award-winning filmmaker Caroline Martel's work has been presented to critical acclaim internationally, including at the Toronto International Film Festival and IDFA, on SRC, NHK, and SVT, at the Museum of Modern Art and the Georges Pompidou Centre, as well as at the Flaherty Seminar. Her first feature documentary, The Phantom of the Operator, showed in more than 50 venues and was reviewed as "… an enormously imaginative docu … an hour of nonstop visual and intellectual stimulation." (Variety). Martel has been synthesizing documentary theory and practice for over a decade, with a special interest in archives, invisible histories, and audio/visual technologies and heritage. Her first gallery show, the montage installation Industry/Cinema, was presented at the Museum of the Moving Image in New York in 2012. Martel holds a BA in Communications and an MA in Media Studies, and is a research-creation PhD candidate in the joint Communications Studies program at Concordia University in Montréal. She is currently starting to develop an experimental webdoc on the prehistory of telecommunications technologies.
For additional information, please visit the film's official website.
NYU's Department of Cinema Studies
Tisch School of the Arts
721 Broadway, 6th Floor
New York, NY 10003
cinema.tisch.nyu.edu
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Posted by Dan Streible at 9:46 AM 0 comments
Curating Moving Images: How [Not] to Curate Stag Films
What should the Kinsey Institute do with its films?
www.kinseyinstitute.org/library/film.html
Read: Linda Williams, "'White Slavery' versus the Ethnography of 'Sexworkers': Women in Stag Films at the Kinsey Archive," The Moving Image 5.2 (2006): 106-35.
Does withholding a study copy of the film KKK Night Riders from a prominent, invited researcher constitute a violation of principled archival practice? Or is the Kinsey Institute Film Archive justified in keeping items in its collection out of the hands of researchers? Who has the better argument, the scholar or the archivist? Should institutions put restrictions on access to some items and not others? What kind/s of access are possible? wise? Is the Kinsey different from most other archives? Should curators and archivists make restrictions on a case-by-case basis? Should some types of users be given special privileges, while other types of users are denied access?
Prepare for a debate in which you either defend or refute this resolution:
Resolved: The Kinsey Institute for Research in Sex, Gender, and Reproduction at Indiana University should make the works in its Film Archive more accessible to researchers.
We will not attempt a conventional debate with teams debating one another. Instead, each of you will prepare to argue for one side or the other. Prepare by not only reading the article, but clarifying for yourself the facts of the case. Build your arguments from those facts, as well as from general principles.
The debate will begin with each person giving a one-minute statement in which you defend your assigned position. You should write this out in advance and read it aloud when called upon. If you do not write a statement, be prepared to speak in complete sentences with a well-thought-out minute of talk.
After the opening statements, the moderator will pose questions to individuals. Each response may be rebutted by a member of the opposition (either by a volunteering member or by someone the moderator calls upon).
Finally, Williams ends her essay by asserting:
Scholars and students should be able to screen and study the history of stag films through the greater access to the Kinsey collection. It is no longer enough to be able to view stag films on Kinsey Institute premises at Indiana University in private screenings. The stag film heritage needs the collaboration of scholars and archivists to preserve and study a body of work that has been far too long neglected.
We will conclude by stepping out of debate mode to pose the question differently: Might "the collaboration of scholars and archivists" resolve the access dilemma? If so, what form should this collaboration take?
Posted by Dan Streible at 11:03 PM 0 comments
Here's an example of "possible outreach" for Tribeca Film Festival.
Posted by Dan Streible at 6:25 PM 0 comments
Note, at Indiana University's IU Cinema, all of the individuals selection are parts of film series.
Dear IU Cinema Supporters,
Below is a listing of screenings for this week.
We are in the process of developing an HTML newsletter design format. Until it has been competed, we will be sending the weekly listing in a plain text format to avoid image attachments. The titles are linked to our web pages for your convenience.
For more information visit the calendar link to film descriptions. Tickets for the screenings are available through the IU Auditorium Ticket Office during regular business hours (Monday through Friday from 10am-5:00pm), and in the IU Cinema lobby 60 minutes prior to any screening. For more ticketing information, call 812-855-1103.
If you have questions, or would like to be removed from this email list, you can contact us at iucinema@indiana.edu, or 812-855-7632. Here are the listings:
Week of April 1
· Free, but ticketed
· 7:00 pm
· Free, but ticketed
· 7:00 pm
· $3 students and $6 public
· 7:00 pm
· Free, but ticketed
· 6:30 pm
· $3 students and $6 public
· 9:30 pm
· Free, but ticketed
· 3:00 pm
· Free, but ticketed
· 6:30 pm
· $3 students and $6 public
· 9:30 pm
· Free, but ticketed
· 3:00 pm
· Free, but ticketed
· 6:30 pm
Thank you for your patronage. Hope to see you this week at the IU Cinema.
Best-
Carla
Posted by Dan Streible at 7:25 PM 0 comments