Remodernist Film by John A Riley

28.10.10
so tell me again, Jesse Richards The history of modernist art is littered with manifestos of one kind or another. Some are greedily devoured and incorporated, others seen as nothing more than an elaborate joke, a put-on that could never be put into action. More recently, in the world of film, the canny von Trier and Vinterberg have been able to market their films with a ...
The Otolith Group talks to George Clark

18.02.10
Otolith I - The Otolith Group George Clark talks to Anjalika Sagar & Kodwo Eshun – The Otolith Group -  following their exhibition at The Showroom, London, about the Otolith Trilogy, their exploration of history, politics and the essay film. How did The Otolith Group come into being? Anjalika: We met around 2000 – one of the things that brought us together was Chris Marker (La Jetée, Sans ...
Ivan’s Childhood by Andrei Tarkovsy

28.12.09
Ivan's Childhood, Andrei Tarkovsky This week’s film is nominated by APEngine Editor, Gary Thomas: “I tend to drift off to my happy place when people start banging on about the genius of Tarkovsky. I like his films and I like children, but eating a whole one, as it were, can be tough going. I mean, that candle carrying scene in Nostalgia… jeez… just give up mate.” “But ...
Editing by Jo Ann Kaplan

21.10.09
Orphee, Jean Cocteau Here are 8 “magic” cuts. By “magic” I mean cuts or edits, or sequences made therefrom, which make my heart stop and my mouth open in suspension of disbelief, amazement, and excess of feeling.   1. Meshes of the Afternoon (Maya Deren and Alexander Hamid, 1943) The first cut in the film, a jump cut, from the shot of the dummy hand holding a poppy ...