DINCA » film

sea a beach

Andrew Rosinski — Wed, 28 Jul 2010 16:11:36 +0000

a beach at the Axiom Center for New and Experimental Media

Two sea a beach

Check out the Flickr photo album here.

Full Circle

Andrew Rosinski — Wed, 28 Jul 2010 06:17:06 +0000

Full Circle from andrew rosinski | 30 sec, 2010

Synopsis: Full Moon, Full Sun, Full Circle.

Trypps #5 (2008) by Ben Russell (a sign of happiness)

Andrew Rosinski — Mon, 26 Jul 2010 13:43:02 +0000

Trypps #5 (Dubai) from Ben Russell. | (3:00, 16mm, color, silent, 2008)

Happiness.

Three Frames: Sans Soleil (1983) by Chris Marker

Andrew Rosinski — Sun, 25 Jul 2010 06:41:12 +0000

Chris Marker, 1983, 103 minutes, 16mm

This is a phenomenal film — a prophetic film — and if you haven’t seen it, highly recommended.

Click images to enlarge
Click here to read a transcript of the film

Sound Over Water (2009) by Mary Helena Clark

Andrew Rosinski — Sun, 25 Jul 2010 06:40:02 +0000

Sound Over Water, Mary Helena Clark, USA, 2009, 6m; 16mm, color/black & white, sound

A film by Baltimore-based filmmaker, Mary Helena Clark.

Synopsis: The sky and the sea meet in a deep blue underwater evocation on 16mm. Floating particles, schools of fish and film emulsion converge.

a beach in Boston, July 23rd – August 28th: Axiom Center for New and Experimental Media

Andrew Rosinski — Thu, 22 Jul 2010 22:29:54 +0000

a beach (2010) | click to enlarge

Hey ya’ll East-Siders: my two-part film, a beach (2010), will be wavin’ simultaneously on two monitors at the Axiom Center for New and Experimental Media, as part of Refresh, “an exhibition of video and animation work that explores an alternative aesthetic in digital media artwork.” … “Refresh features a group of artists that all ask the viewer to reevaluate our collective definition of digital beauty and the value we place on visual quality in contemporary culture.”

The opening reception is tomorrow, 23 July, 2010, and the exhibit will sit pretty 23 July – August 28th, 2010. Artists in the show include: Nick Briz (Chicago), Michelle Ceja (NY), Clint Ennis (Canada), Elna Frederick (the internet), Doug Goodwin and Rebecca Baron (Los Angeles), Duncan Malashock (NY), Rosa Menkman (a Dutch-visualist DINCA recently interviewed, the Netherlands), Andrew Rosinski (Chicago), and Nicolas Sassoon (Canada).

This exhibition is curated by Yuri Stone.

REFRESH

23 July – 28 August, 2010

Opening Reception: Friday, July 23, 6-9pm

Axiom Center for New and Experimental Media is pleased to present Refresh, an exhibition of video and animation work that explores an alternative aesthetic in digital media artwork. Refresh features a group of artists that all ask the viewer to reevaluate our collective definition of digital beauty and the value we place on visual quality in contemporary culture.

Spanning from 8bit and ascii animations to manipulated digital video, this exhibition creates an aesthetic and conceptual dialogue that allows us to question conventions of digital media in our society as well as our relationship to new and past technology. The artists included in this exhibition evoke notions of nostalgia, document unintended artifacts, and push the boundaries of the ↓field by experimenting with new technologies. In doing so, these artists create a refreshingly alternative digital practice that functions outside of the mainstream aesthetic.

More:

Axiom Center for New and Experimental Media
Refresh Exhibit Page
Nick Briz
Michelle Ceja
Elna Frederick
Doug Goodwin and Rebecca Baron
Duncan Malashock
Rosa Menkman
Andrew Rosinski
Nicolas Sassoon

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach.
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Letter: Brando to Monroe

Andrew Rosinski — Wed, 21 Jul 2010 20:28:09 +0000

Reference: sale 1600 at Christie’s.

No related posts.

Video Interview with Takeshi Murata

Andrew Rosinski — Wed, 21 Jul 2010 05:08:42 +0000

Chicago-based animator and digital media artist, Takeshi Murata, is featured on The Creators Project. Takeshi takes a unique approach to his work, emphasizing the relationship between humanity and technology as an important element of his artistic ethos. His brilliant displays of color and animation have an organic edge that gives them a life of their own.

In this short feature, VICE sits down with Takeshi as he discusses his relationship with his work. Takeshi’s projects are like living creatures; he follows them through technological experimentation, ultimately allowing them to develop creative story arcs of their own. Combining hand-drawn animation with software manipulation and beyond, Takeshi has mastered communicating the human behind the digital.

Thoughts on Inception

Jack Kentala — Wed, 14 Jul 2010 16:34:17 +0000

An interesting concept gets bogged down by utter confusion

by Jack Kentala

Inception is a movie that spends every single minute of its two-and-a-half-hour runtime explaining what’s going on. There’s no simple setup within the first ten minutes and then we’re off on some semi-psychological thriller that proceeds without any letup. Instead, we’re held hostage by some heady or, at worst, confusing topics: dreams, dreams within dreams, dreams within dreams within dreams (seriously), the nature of dreams, the malleability of dreams, the mental torture of dreams, and, of course, the fine line between what’s a dream and what’s reality.

On that last note, it’s really surprising that Inception didn’t follow The Matrix‘s zeitgeist immediately. Instead it cooked for a number of years in director Chris Nolan’s head, during which he made Batman Begins, the oft-overlooked The Prestige, and the overrated The Dark Knight. So it’s no surprise that, given his filmography, Nolan has a penchant for the ambitious. It is, ultimately, what keeps Inception from following a straight line from thrill to thrill, and its overstuffed narrative gets in the way of answering questions that are left maddeningly until the very end of the film.

First off, it’s only until well near the midpoint of the film that we actually figure out what Leonardo DiCaprio’s Cobb actually does. The trailers point it out well enough: he infiltrates dreams and, somehow, extracts information from them. But that doesn’t answer how he gets there, until the main plot thrust shows that it basically involves drugging a subject and then magically getting inside their dreams. Add to it that every dream infiltration requires an “architect” to create a maze-like environment (here, it’s Ellen Page that, thank god, never develops into a b-plot of some sort of love interest) to trap the subject and yet not cue them into the fact that they’re in a dream.

The latter is pretty safe ground to cover, since that’s what the trailers exploit. And they go a little too far, unfortunately. Inception is oftentimes a visually awesome film, but all the best shots have already been sold: the city folding over itself; dreams “collapsing” and explosions surrounding and not harming the characters; a netherdreamworld crumbling into the ocean; and the infamous “gravity hallway” where a rather tedious sequence occurs.

So what about characters, then? For good or worse, DiCaprio is the only one who has a background, a motive, and secrets. Everyone else just fills out the inception “team” for the big theft-dream-heist of the latter part of the movie. Consider it coincidence, but DiCaprio’s personal demons here are eerily much like this year’s Shutter Island, giving Inception a bit of too-soon déjà vu.

Going back to the final setpiece of the movie, we get into a dream within a dream within a dream. And while the first setup is bland, the second a bit more mazelike, the third almost decides to throw out the “dream rules” and just turns into an assault on a Russian bunker in some wintry deadland. And like The Dark Knight, it devolves into a messy action scene in which simply telling who is fighting who keeps it from feeling like there’s anything actually at stake.

I always give points for ambition. There’s plenty of it in Inception. Perhaps what’s obviously remarkable is that Chris Nolan helms such ambitious projects “between” Batman movies, and that, based on something I read in American Cinematographer a while back, he supervises every shot of the whole movie; he doesn’t sit in a trailer while a second unit does the grunt work for some rote material. But the problem with Inception is that, while it could work as a mind-bending What’s Going On? mystery, it’s simply confusing without hinting that the easy answer is just around the corner. You can’t figure it out by yourself. You have to wait for the film to tell you.

Thoughts on The Twilight Saga: Eclipse

Jack Kentala — Tue, 13 Jul 2010 16:40:17 +0000

Too much talking.

by Jack Kentala

I always make this mental comparison between Twilight and Harry Potter. Whereas the latter mostly concerns itself with an often-overwhelming (for the movie adaptations, at least) combination of wizardry and secrets, the back end of the movies have this little concern about Harry Potter growing up and falling in love and all that. Twilight takes the opposite route: there are vampires and werewolves, sure, but it all hangs in the balance of a very poorly construct human-vampire-werewolf love triangle.

And that’s what ultimately makes any Twilight film seem a bit flat for those outside the tween-girl demographic. The love triangle is pure nonsense because Werewolf Jacob really has nothing on Vampire Edward. If anyone who has any inkling of the series can’t just guess what’ll happen with the love interest(s) has a serious problem analyzing movie posters and seeing that most promotional material has helpless Bella absolutely smitten with Edward and flatly saying she loves Jacob, too, but a bit less.

One aspect about the series that, given it’s the year 2010, really grinds me is the puritanical stance related to sex. Yeah, there’s plenty of lip-locking time with Edward and, briefly, Jacob, but it’s almost stated as a given that Bella doesn’t want to have sex until she’s married. And it just so happens that she’s going to get married when she’s 17; that’s what age my grandmother was when she married, and even back then it was young by most standards, and that, too, was a no-sex-before-marriage sort of thing. So Eclipse takes the odd stance of allowing marital sex, but it doesn’t matter if you get that free pass because you’re married at a freakishly young age.

I guess a bonus point can be given for a very brief conversation in which Bella’s dad gives sideways permission for her and Edward to have sex as long as they use condoms, but the way Bella dismisses it is like she’s the one with this whitewashed, not-realistic-these-days stance. I know it’s been a criticism lobbied at Twilight and other inavoidable zeitgeists, like the Jonas Brothers and their Promise Rings, and how it’s an easy way to sell sex under the guise that it’s “safe” because there’s no explicit sex and there are silly rings and all that. (I won’t even get into the subconscious insanity of last year’s Jonas Brothers concert stunt of spraying hot ~~semen~~ foam out of cannons onto their audience.)

But back to, you know, the movie, it gets into a talky dead zone that drags out the time to the mildly-enjoyable vampire-werewolf brawl climax. Film is visual, so you want to show things, but the way Eclipse is set up, it’s really hard to show the love that everyone keeps talking about. It only comes close when Bella is out camping, gets really cold, and shirtless Jacob has her cuddle up to him to get warm. But there’s no risk for Jacob, so that doesn’t go far showing that he does it because he loves her. Most of the movie is a lot of talk about love that goes in circles. Again, I have no inner tween to summon to come up with a defense of this.

The first Twilight worked pretty good. Like any superhero or supernatural saga, the origin story is always the best. There are the setup and the mysteries (and, in the first Twilight, a lot of sparkly vampires and vampire baseball). Then came the dragged-out, Romeo and Juliet-obsessed New Moon, and Eclipse straddles an uncomfortable line by killing off a villain that’s been dogging the vampires of the Pacific Northwest for the first three films and sort of shrugging its shoulders in a Now What? fashion before the probably-bloated two-part finale set to release far too soon.

A Music Video Like None Other: Black and White Trypps Number Three by Ben Russell

Andrew Rosinski — Tue, 13 Jul 2010 06:17:01 +0000

This post embeds two lovely music videos by Ben Russell, an eminent Chicago-based experimental filmmaker, known for his Black and White Trypps series and the recent experimental ethnopgraphy, Let Each One Go Where He May (2009). There are a number of reasons why these two films defy a classification, namely, they are captured on film, not video. Black and White Trypps Number Three (2007, embedded below) was shot on 35mm; Rock Me Amadeus by Falco Via Kardinal by Otto Muehl (2009, embedded above) was shot on 16mm film. Whether it be 35mm, 16mm, 8mm, black/white or color, a music video shot on film looks volumes better than a music video shot on video. Film captures sunlight on celluloid; film is warm.

The above video is an avant-garde kareokee performance between filmmaker Ben Russell and Celeste Neus. The film observes the sticky-synergy between the two as they rock to Falco’s lengendary 1983 hit “Rock Me Amadeus.” This film ponders humiliation of some sort — preparation, then humiliation — other than that, it’s strikingly similar to the original Falco video. Five Stars, verily.

Black and White Trypps Number Three captures a live-performance from Providence-based band Lightning Bolt. Although we’re at the show, we only catch a glimpse of the two-piece band, that being the neck of a bass guitar. We don’t see the band; we see the audience, we hear the music, and we see how the music affects the audience.

They say film can only capture sight and sound; however, these films capture more. Plus, music can speak louder than words. If you haven’t heard Lightning Bolt, try listening to the mp3s below — they bring the light from above to the below. It’s a heavy feeling in a good whey.

Download audio file (2-towers.mp3)

Download audio file (crown-of-storms.mp3)

Download audio file (fleeing-in-the-valley-of-whirling-knives.mp3)

Four Frames: Chromatic Cocktail by Kerry Laitala

Andrew Rosinski — Sun, 11 Jul 2010 16:10:55 +0000

Chromatic Cocktail, 2008, 9 min

Synopsis: The vibrant, abstract spirals of Kerry Laitala’s experiments with chromovision leap off the screen in pulsating 3-D. — San Francisco International Film Festival

Three Frames: Orbit by Kerry Laitala

Andrew Rosinski — Sun, 11 Jul 2010 14:33:08 +0000

2006, 9 min, 16mm, hand-made soundtrack

Synopsis: Candy apple light emissions create a series of photic stimulating events that tickle the retinas. Orbit takes one into the realm of the mistake…. a playful pulsation of mis-registered images made when a lab accidentally split the film from 16mm to regular 8. This format was then reconstituted on the optical printer making the colors and contrast further blow out into the atmosphere. Kodachrome color fields create tremulous vibrations whose flickerings hypnotize.

The Kodachrome Series, of which Orbit is a part, deals directly with chromatic motion studies and creates an illusion of frozen light fields; holding light captive and exploring the phenomenon of retinal afterimage. The soundtrack is comprised of the flutterings of optical noise reverberating to the splices of the film that is intermixed with hand drawn extensions of the visual plane onto the soundtrack area. By combining a series of abstract shapes with permanent marker, the rhythm and tempo of the image is directly enhanced through this mark making process. The fanciful sputterings crackle and snap, tickling the tympanum of the eardrums. We enter through the oval window, while the Gravitron spins eternally.

— LA Film Forum

Big Waves and Beach: Peter Hutton’s At Sea, Maya Deren’s At Land, and Vimukthi Jayasundara’s Between Two Worlds

Andrew Rosinski — Thu, 08 Jul 2010 18:06:00 +0000

Entre dos mundos from Banda TRANSIT

“In the beginning was the sea … and when a man or a woman, falls from the sky to the sea, the game starts or restarts …”

Watching this is highly recommended. It is a visceral montage from Banda TRANSIT, dubbed Entre dos mundos — my roommate, Juan, says that translates as, “Between two worlds.” Makes sense, haha, it’s part of the titular line.

This is a montage of coalescing images of big waves, beach footage, driftwood, and a man whom jumps into the water and climbs the rocky cliff neighboring a beach. The opening shot is from Peter Hutton’s At Sea, a film I pine to sea in its entirety, and footage from the great Maya Deren’s At Land, and footage from Vimukthi Jayasundara’s Between Two Worlds.

Synopsis: This video contains footage from At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007), and Between Two Worlds (Vimukthi Jayasundara, 2009). They try to illustrate a divulgative and creative text about Deren’s, Hutton’s and Jayasundara’s productions. It doesn’t exist any profit motive in mind. (Covadonga G. Lahera for (cinentransit.com)

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Additional Synopsis: Diálogo imaginario entre tres interlocutores: At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007) y Between Two Worlds (Vimukthi Jayasundara, 2009); tres conexiones surgidas a lo largo del tiempo en marcos dispares: un curso iniciático de cine experimental y dos festivales tan distintos, a priori, en cuanto a concepción y público objetivo, como Documenta Madrid y el Barcelona Asian Film Festival (BAFF).

Maya Deren, escupida por el mar, asiste a un rewind de las olas en la playa y así comienza su gloriosa deriva surrealista; para Peter Hutton la mar es una forma de vida y marca la primitiva línea del horizonte como una enigmática sutura entre el cielo y el océano, entre la embarcación donde aguarda encaramado y la distancia que lo aleja de tierra firme. Caminos que surcar, cuestiones de escalas. Rojo (barco), azul (cielo) y aún más azul (mar).

Existe, por descontado, una forma de “activismo observacional” en la realidad sensible… y Hutton es uno de sus acólitos. Utiliza sencillamente el cine “como herramienta para enseñar las cosas que le gusta mirar”. Deren también parte de la observación y del mundo, de los sueños y de las pesadillas y los conecta, los subvierte, los altera… Ambos realizadores norteamericanos (nos) reivindican otra mirada sobre las cosas.

Jayasundara explicita esa histórica tensión mar-tierra en su nativa Sri Lanka. Between Two Worlds arranca precisamente en tal intersticio. Y, una vez más, un hombre cae del cielo al mar. En el filme de Jayasundara también ocurre y sucede con un tema musical de Lakshman Joseph De Saram que impregna de dramatismo las imágenes: es el comienzo de la película, pero también una existencia recién llegada.

Deren silente y muda; Hutton mudo y silente, salvo por diecisiete palabras, las que inauguran At Sea y que bien podrían ser los cimientos de toda una obra: “Al nacer, el ser humano se precipita en un sueño, como un hombre que cae al mar” (Joseph Conrad).

Las intersecciones surgidas entre estos tres filmes, y algún otro título más llamado a la fricción, dan pie al texto “Asociación libre: Enlaces acuosos”, publicado en la sección Derivas de este mismo número. En el comienzo era el mar… Y cuando un hombre, o una mujer, cae del cielo al mar, la partida empieza o vuelve a empezar.

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Google Translator Translates (expect inaccuracy): Imaginary dialogue between three parties: At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007) and Between Two Worlds (Vimukthi Jayasundara, 2009), three connections have arisen over time in different frameworks: a course of initiation of experimental film festivals and two so different, a priori, as to design and target audience, such as Documenta Madrid and Barcelona Asian Film Festival (BAFF).

Maya Deren, thrown up by the sea, attending a rewind of the waves on the beach and so begins his glorious surreal drift, for Peter Hutton the sea is a way of life and mark the original line of the horizon as a suture between heaven enigmatic and the ocean, between the boat which waits perched and its distance away from the mainland. Ways to sail, issues of scale. Red (ship), blue (sky) and even blue (sea).

There is, of course, a form of observational activism “in the sensible reality … and Hutton is one of his acolytes. Use simple film “as a tool to teach the things you like to watch.” Deren also part of the observation and the world of dreams and nightmares and connects the subverts the alter … Both American filmmakers (we) claim a different perspective on things.

Jayasundara explicit tension that historic sea-land in his native Sri Lanka. Between Two Worlds starts precisely in this gap. And once again, a man falls from the sky to the sea. In the film Jayasundara also occurs and it happens on one piece of Lakshman Joseph De Saram of drama that pervades the images: the beginning of the film, but also a newcomer there.

Deren silent and dumb; Hutton mute and silent, except for seventeen words, which open At Sea and that could well be the foundation of an entire work: “At birth, the human being precipitated in a dream, like a man falling the sea “(Joseph Conrad).

The intersections between these three films have emerged, and some another title called friction, give rise to the text “free association: Links aqueous” published in the section derived from this same number. In the beginning was the sea … And when a man or a woman, falls from the sky to the sea, the game starts or restarts.

Anna Karina Dances

Andrew Rosinski — Thu, 08 Jul 2010 13:37:23 +0000

Anna Karina and husband, Jean Luc Godard, dance

The Difference is Dincability: dincabirthday

Andrew Rosinski — Wed, 07 Jul 2010 01:33:47 +0000

At first, DINCA was a lil runt and in peril, and many thought DINCA would die. Not the case, though, because tomorrow, DINCA is one-year-old. Soon DINCA will enter the terrible-2s — that occurs when DINCA turns two-years-old. Happy dinca!

Summer regards,
Yours truly,

d i n c a

No related posts.

Luis Buñuel Film Posters

Andrew Rosinski — Tue, 06 Jul 2010 05:01:19 +0000

Los Olvidados (1950) original french poster

Recipe: 17 Luis Buñuel posters. They’re beautiful.

Belle de Jour (1967)

Diary of a chambermaid (1964)

Viridiana (1961) Swedish Poster

Viridiana (1961)

The Exterminating Angel (1962) Mexican Lobby Card

Belle de Jour (1967) Poster Japan

Los Olvidados (1950)

el bruto (1953)

El Río y la muerte (1955)

Belle de Jour (1967) French/Italian Poster

That Obscure Object of Desire (1977)

Phantom of Liberty (1974)

il diario di una cameriera (1964)

I love this poster. I wish I could find a larger image.

Diary of a Chambermaid (1964) French/Italian poster

Another sexy poster.

Tristana (1970) American Poster

More:

Luis Bunuel Poster Gallery

Luis Bunuel on IMDB

Luis Bunuel on MUBI

Underground Film Loop Links culled weekly by Badlit.com

Andrew Rosinski — Sun, 04 Jul 2010 19:29:57 +0000

Around two months ago, one of my favourite underground film journals, badlit.com, started a handy roundup up notable posts, culled from the corners of the somewhat established underground film loop. If you enjoy underground film, or have interest in discovering something new, subscribe to the badlit RSS feed, or simply check badlit.com every Sunday.

Also, I’m working on expanding the dinca-hosted undergroundfilmloop, which will be a separate micro-site with categorized links by blog/website/journal, filmmakers/artists, writers/poets, and more.

So, in the words of Zira, the companion of Cornelius in Escape from the Planet of the Apes (1971), aka Planet of the Apes 3: “It’s grape juice, plus!” In other words, this will be a undergroundfilmloop, plus (!).

Summer is prime for the exc!amation po!nt. (My rule is keep yourself to 2-3 per summer writing; with this post I’ve already exceeded my limit.) (However, there is no cap on thinking with an exclamation point, for it is a recipe for joy.)

Folks, it’s time to get to work.

But is it Art? Exit Through the Gift Shop: Film Review

ZO — Fri, 02 Jul 2010 19:36:01 +0000

BUT IS IT ART? EXIT THROUGHT THE GIFT SHOP:

by Zack Oleson

Art sometimes makes me sick. Watching Exit Through the Gift Shop, the new digital documentary directed by street artist Bansky from the exorbitant footage shot by Thierry Guetta (aka Mister Brainwash, his street artist persona), I was struck by the subject but not so much the documentary itself. Through the first hour, I didn’t know what was going on with the delegated narrator’s unqualified and unrelenting hyperbole—another voice-over doc narrator with a mysteriously foreign therefore authoritative accent, without even a hint of irony—or the attention paid to who was behind the camera, this Thierry Guetta character. A rather fat and unkempt Frenchman, Thierry became obsessed with capturing people and things in his life on his digital camera ostensibly after his mother died when he was very young. He used to record celebrity sightings, then he started eyeing his cousin’s work creating tile mosaics inspired by the videogame Space Invaders. Using that name, Thierry’s cousin started pasting his work up all around Paris, thus “street art” was seemingly born.

Street art is for the layman a thinking man’s graffiti. The work of Banksy is arguably the most well known, considering a book of his work is sold at Urban Outfitters. There’s also Shepherd Fairey, who was commissioned to design the iconic Obama campaign posters and whose Andre the Giant “OBEY” trademark can be spotted in almost any city. Thierry comes to know and follow both these two (any surprise in the will-he-meet-the-reclusive-Bansky thread of narrative is undermined by the inclusion of footage of Bansky, though I suppose it is suspenseful to know how they meet), promising that he’s at work on a documentary. Thierry’s quite a help and a lookout, and he takes hours and hours worth of footage, yet he never watches or does anything with it. He concerns himself with preservation of change before it itself is wiped out (it is a shame there’s no scene of these posters being taken down or stencils painted over) which is a worthwhile cause, even if it is through 0’s and 1’s. Thierry manages to get invaluable footage right before street art takes off and into the galleries and auction houses, evolving modern art to a street-aesthetic.

The shit hits the fan once Banksy asks Thierry to put his documentary together. (This comes after a nice segment where Banksy displays a blow-up Abu Ghraib prisoner in orange garb and black mask at Disneyland and Thierry is interrogated by “Mickey Mouse security guards.” In a legal crisis, at least you can easily delete digital evidence.) Thierry delivers a product a few months later, and Bansky’s reaction to it nicely walks the line between honesty and encouragement when a friend’s work is shit. It’s then that Bansky emboldens Thierry to do his own art and have a little show with wine; Thierry takes this as such validation that he mortgages all he owns, apparently, and helms a team of graphic artists, prop builders, and promoters to build an epic gallery of pop art pastiche attractions all from Thierry’s “idears” that will put his name on the map. Surprisingly, it works: his LA opening is in fact a “sensation”; he makes over a million dollars; Madonna asks him to design her cover art for her greatest hits collection. Mister Brainwash puts one over on the public.

Now, I have some fascination with talentless people who are experts at hype—Lady Gaga, Lola Montes, Madonna—but this case of Mister Bullshi—whoops, Brainwash—really put that affinity to the test. I like a lot of others find star power so seductive, but Thierry’s incoherence comes across with little charm, and by the time he’s wearing aviators at night and inside (still with his frumpy polo’s, no less), any chance for endearment is lost. He’s a possum that didn’t bother to wear a fox’s clothing. His attitude toward his art did not exhibit a knowing pretense that I could forgive but a self-important delusion that was offensive because it was so successful. Is it because he’s not a woman that he has no excuse for his pretension? New Yorkers trying too hard with their style. I couldn’t even look at the movie posters or DVDs without suspecting some sort of fraud or yes, brainwash.

The line between seduction and deceit is fine, no doubt, but I like my style with just a hint of substance. Or at least heavy on the style.

an Artist never works under ideal conditions

Andrew Rosinski — Thu, 01 Jul 2010 04:01:37 +0000

… an artist never works under ideal conditions. If they existed, his work wouldn’t exist, for the artist doesn’t live in a vacuum.

Some sort of pressure must exist: the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony, but would simply live in it.

Art is born out of an ill-designed world.

— Andrei Arsenyevich Tarkovsky

Short Notes on the CUFF

Andrew Rosinski — Wed, 30 Jun 2010 17:34:10 +0000

Two days left for the Chicago Underground Film Festival. They have already announced the award-winners. Above is the trailer for the CUFF; I think it’s a darn neat trailer.

IFP Chicago presents:

The 17th Chicago Underground Film Festival
June 24th – July 1st
at the Gene Siskel Film Center
http://www.cuff.org/

Trailer by Jon Satrom

El Topo (1970) Poster Italian Style

Andrew Rosinski — Wed, 23 Jun 2010 04:16:46 +0000

THREE ITALIAN POSTERS FOR ALEJANDRO JODOROWSKY’S EL TOPO (1970)

7 Frames: Shrimp Chicken Fish by Deborah Stratman

Andrew Rosinski — Sun, 20 Jun 2010 19:20:15 +0000

Seven frames from Shrimp Chicken Fish by Deborah Stratman

2010, video, 5:13 minutes

Synopsis: An homage to Chicago’s East 95th Street Bridge, Calumet Fisheries and to a couple of the city’s beloved brothers. The take out restaurant still operates, propped along the edge of a drawbridge, bounded by the infamous Chicago Skyway and the industrial Calumet Harbor.

found via pythagoras film.

jupiter’s eye

Andrew Rosinski — Wed, 16 Jun 2010 09:57:53 +0000

jupiter’s eye

duration: 1:25
2010
pair part one with part two.
Watch synchronously; synchronize part one and part two.

Also, try watch the fullsize here: part 1, part 2

Also, try watching fullscreen.

Selected Works of Fred Camper’s Via Appia

Andrew Rosinski — Mon, 14 Jun 2010 12:12:42 +0000

For more information on Fred Camper’s Via Appia series, or if you’re interested in purchasing a work, visit this link.

like pleasant dreams

Andrew Rosinski — Sat, 12 Jun 2010 03:55:55 +0000

A film for me begins with something very vague — a chance remark or a bit of conversation, a hazy but agreeable event unrelated to any particular situation. It can be a few bars of music, a shaft of light across the street. Sometimes in my work at the theater I have envisioned actors made up for yet unplayed roles.

These are split-second impressions that disappear as quickly as they come, yet leave behind a mood – like pleasant dreams. It is a mental state, not an actual story, but one abounding in fertile associations and images. Most of all, it is a brightly colored thread sticking out of the dark sack of the unconscious. If I begin to wind up this thread, and do it carefully, a complete film will emerge.

— Ingmar Bergman, 1960

2010 Editing/Motion Reel by Andrew Rosinski

Andrew Rosinski — Mon, 07 Jun 2010 22:36:26 +0000

Yep, here I go again, another shameless self promotion post: click this link to watch my 2010 motion design/editing ‘highlight’ reel.

I’ve been editing film/video for seven years now and I’ve been working with motion design for over a year now. For someone in this line of work, who’s looking for work, it’s essential to have a portfolio website, a reel, a business card, and of course, the old fashioned resume. I have three of the four.

My reel is a little over one minute in length; I must warn those with sensitive eyes that there is copious flashing and strobing colours, and rapid image flicker, which might harm the eyes of some, especially those with epilepsy.

Watch a high resolution quicktime of my reel here. Or watch the vimeo upload of this reel here. (The vimeo upload seemingly has issues with playback, at least on my computer.)

I’m always looking for work; please contact me if you or someone else needs any help. Thanks!

DINCA » film

sea a beach

Full Circle

Trypps #5 (2008) by Ben Russell (a sign of happiness)

Three Frames: Sans Soleil (1983) by Chris Marker

Sound Over Water (2009) by Mary Helena Clark

a beach in Boston, July 23rd – August 28th: Axiom Center for New and Experimental Media

REFRESH

23 July – 28 August, 2010

Opening Reception: Friday, July 23, 6-9pm

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach. ⇊⇊

Letter: Brando to Monroe

Video Interview with Takeshi Murata

Thoughts on Inception

Thoughts on The Twilight Saga: Eclipse

A Music Video Like None Other: Black and White Trypps Number Three by Ben Russell

Four Frames: Chromatic Cocktail by Kerry Laitala

Three Frames: Orbit by Kerry Laitala

Big Waves and Beach: Peter Hutton’s At Sea, Maya Deren’s At Land, and Vimukthi Jayasundara’s Between Two Worlds

“In the beginning was the sea … and when a man or a woman, falls from the sky to the sea, the game starts or restarts …”

Anna Karina Dances

The Difference is Dincability: dincabirthday

Luis Buñuel Film Posters

Underground Film Loop Links culled weekly by Badlit.com

But is it Art? Exit Through the Gift Shop: Film Review

an Artist never works under ideal conditions

… an artist never works under ideal conditions. If they existed, his work wouldn’t exist, for the artist doesn’t live in a vacuum.

Some sort of pressure must exist: the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony, but would simply live in it.

Art is born out of an ill-designed world.

— Andrei Arsenyevich Tarkovsky

Short Notes on the CUFF

El Topo (1970) Poster Italian Style

THREE ITALIAN POSTERS FOR ALEJANDRO JODOROWSKY’S EL TOPO (1970)

7 Frames: Shrimp Chicken Fish by Deborah Stratman

Seven frames from Shrimp Chicken Fish by Deborah Stratman

jupiter’s eye

jupiter’s eye

Selected Works of Fred Camper’s Via Appia

like pleasant dreams

2010 Editing/Motion Reel by Andrew Rosinski

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach.
⇊⇊