Sublime Cinema: Experiential Excess and Embodied Spectatorship
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IN STILL ROOMS CONSTANTINE JONES the Operating System Print//Document
IN STILL ROOMS CONSTANTINE JONES the operating system print//document IN STILL ROOMS ISBN: 978-1-946031-86-0 Library of Congress Control Number: 2020933062 copyright © 2020 by Constantine Jones edited and designed by ELÆ [Lynne DeSilva-Johnson] is released under a Creative Commons CC-BY-NC-ND (Attribution, Non Commercial, No Derivatives) License: its reproduction is encouraged for those who otherwise could not aff ord its purchase in the case of academic, personal, and other creative usage from which no profi t will accrue. Complete rules and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ For additional questions regarding reproduction, quotation, or to request a pdf for review contact [email protected] Th is text was set in avenir, minion pro, europa, and OCR standard. Books from Th e Operating System are distributed to the trade via Ingram, with additional production by Spencer Printing, in Honesdale, PA, in the USA. the operating system www.theoperatingsystem.org [email protected] IN STILL ROOMS for my mother & her mother & all the saints Aιωνία η mνήμη — “Eternal be their memory” Greek Orthodox hymn for the dead I N S I D E Dramatis Personae 13 OVERTURE Chorus 14 ACT I Heirloom 17 Chorus 73 Kairos 75 ACT II Mnemosynon 83 Chorus 110 Nostos 113 CODA Memory Eternal 121 * Gratitude Pages 137 Q&A—A Close-Quarters Epic 143 Bio 148 D R A M A T I S P E R S O N A E CHORUS of Southern ghosts in the house ELENI WARREN 35. Mother of twins Effie & Jr.; younger twin sister of Evan Warren EVAN WARREN 35. -
Neo-Modern Contemplative and Sublime Cinema Aesthetics in Godfrey Reggio’S Qatsi Trilogy
Art Inquiry. Recherches sur les arts 2016, vol. XVIII ISSN 1641-9278 / e - ISSN 2451-0327219 Kornelia Boczkowska Faculty of English Adam Mickiewicz University in Poznań [email protected] SPEEDING SLOWNESS: NEO-MODERN CONTEMPLATIVE AND SUBLIME CINEMA AESTHETICS IN GODFREY REGGIO’S QATSI TRILOGY Abstract: The article analyzes the various ways in which Godfrey Reggio’s experimental documentary films, Koyaanisqatsi (1982), Powaqqatsi (1988) and Naqoyqatsi (2002), tend to incorporate narrative and visual conventions traditionally associated with neo-modern aesthetics of slow and sublime cinema. The former concept, defined as a “varied strain of austere minimalist cinema” (Romney 2010) and characterized by the frequent use of “long takes, de-centred and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday” (Flanagan 2008), is often seen as a creative evolution of Schrader’s transcendental style or, more generally, neo-modernist trends in contemporary cinematography. Although predominantly analyzed through the lens of some common stylistic tropes of the genre’s mainstream works, its scope and framework has been recently broadened to encompass post-1960 experimental and avant-garde as well as realistic documentary films, which often emphasize contemplative rather than slow aspects of the projected scenes (Tuttle 2012). Taking this as a point of departure, I argue that the Qatsi trilogy, despite being classified as largely atypical slow films, relies on a set of conventions which draw both on the stylistic excess of non-verbal sublime cinema (Thompson 1977; Bagatavicius 2015) and on some formal devices of contemplative cinema, including slowness, duration, anti-narrative or Bazinian Realism. -
Mr Trumble.Pdf
REVIEW OF EXHIBITIONS AND PUBLIC PROGRAMS AT THE NATIONAL MUSEUM OF AUSTRALIA SUBMISSION BY ANGUS TRUMBLE I wish to make the following submission in connection with DCITA’s 2003 Review of Exhibitions and Public Programs at the National Museum of Australia, Canberra. My thoughts about the NMA are largely the product of having for many years visited dozens museums all over the world, either out of interest or through my work as Curator of European Art at the Art Gallery of South Australia in Adelaide (1996 to 2001). However, I should also make it clear that I have had no professional contact with the NMA staff other than as an ordinary visitor, and it is in that capacity, not so much as an art museum curator, that I wish to comment on the building and aspects of the display, which I have studied carefully in the course of five visits in February and March this year. Despite the robust nature of many of my criticisms, I should say that I welcome the long-awaited arrival of the NMA. I believe it has a vital role to play in the cultural life of the nation, and the many problems that it must now solve are no more than temporary setbacks. None, apart from the terrible building, is insoluble, and even the building can be improved, I think, beyond measure. The architecture The design of the new NMA building is very poor and will not, I think, serve the long-term exhibition needs of the NMA. Nor will it open up new possibilities for public programming in the long term. -
Not Even Past NOT EVEN PAST
The past is never dead. It's not even past NOT EVEN PAST Search the site ... Of How a Hopi Ancient Word Became a Famous Experimental Film Like 65 Tweet by Montserrat Madariaga The theater is at its full capacity. The musicians are in place as the orchestra conductor starts to wave his arms in time with the image on the screen. There, little red dots emerge from a black background. They slowly widen and turn into capital letters: The word KOYAANISQATSI takes over. Keyboard notes evoking a church organ underline the mystery of the term and suit the dramatic hard-edged-typography. It is a Friday afternoon, February 23, 2018, in the Bass Concert Hall of the Texas Performing Art Center of The University of Texas, at Austin. The occasion is the screening of Godfrey Reggio’s 1982 lm, accompanied by the live performance of The Philip Glass Ensemble playing its original score music. Featured for the rst time to an ample public in the 1982 New York Film Festival, Koyaanisqatsi is an audiovisual art piece without dialogue or voiceover, deprived of any explicit narrative, that is nowadays a cult classic. It opens with a shot of the Holy Ghost Panel in Horseshoe Canyon, Utah, a human trace dated between 400 AD and 1100 AD. Then, footage of imposing natural landscapes and wildlife of the United States’ Southwest is followed by images of urban spaces: construction, crowded streets, demolitions, technology of the time, and so on. The collage escalates in its pace along with the music: utes, clarinet, trombone, viola, tuba, keyboards and vocals from time to time repeat the word “koyaanisqatsi” in a low pitched ceremonial tone that creates an apocalyptic atmosphere. -
Sydney Film Festival Announces Essential Scorsese
MEDIA RELEASE THURSDAY 31 MARCH 2016 DAVID STRATTON CURATES SCORSESE RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI) and the National Film and Sound Archive of Australia (NFSA) announce that David Stratton will present a program of 10 essential films directed by Martin Scorsese. The curated films will screen as the retrospective program during the 63rd Sydney Film Festival (8-19 June) and in Melbourne at ACMI (27 May-12 June) to coincide with ACMI’s exhibition SCORSESE (26 May-18 September). All 10 films will screen at the NFSA in Canberra (1-23 July) after Sydney Film Festival’s screenings. The retrospective program of ten titles, including specially imported 35mm prints, curated by David Stratton, entitled Essential Scorsese: Selected by David Stratton, features works by one of the most influential directors of our time, including Taxi Driver, Goodfellas, Raging Bull and The Age of Innocence. The renowned critic and broadcaster, was appointed director of the Sydney Film Festival 50 years ago, and held the position from 1966 to 1983. Stratton will introduce selected screenings in the retrospective program. David Stratton says: “Scorsese talks in a rapid-fire style as though he doesn’t have enough time to describe everything he knows. He’s like a character in a 1930s movie. His films are passionate too. His best are explosive in their impact, crammed with information and detail. On the one hand, his Catholic upbringing leads him to tackle religious subjects (The Last Temptation of Christ, Kundun) while the Saturday matinee kid in him revels in the trashy gore of his gangster films.” Essential Scorsese: Selected by David Stratton will screen over two weekends during the Festival (8 – 19 June) at the Art Gallery of NSW. -
Kings of Lies False Memories Records/Sonic Rendezvous Kings of Lies Is
Kings of Lies False Memories Records/Sonic RendezVous Kings of Lies is the name of the band featuring Francis Kuipers, a Dutch / English artist, musician and composer, as well as writer and poet. During his many travels, he collected and studied ethnic and experimental music. This resulted in a still ongoing interest and research into sound and music. He created a unique and comprehensive archive of sounds. At this time, Francis mainly lives and works in Italy and the Netherlands. It is worth mentioning that the music of Kings of Lies is a hybrid of various music styles. The background of the band members, Francis Kuipers - voice, guitar, Franc auf dem Brinke - drums and Sam Tjioe - bass, is very different. The main influence is, of course, that of Francis Kuipers, author of the songs and lyrics. He comes from a tradition of folk and blues. Franc auf dem Brinke not only has a jazz background but is as well influenced by Cuban and Brazilian music. Sam Tjioe played in rock and punk bands and is also responsible for the production of the album. Perhaps even more important than the music, and certainly just as important, are the lyrics. These are primarily poetic; this can be traced back to Francis performing in duo with Beat Generation poet Gregory Corso for a number of years until Corso's death. Kings of Lies can hardly be described as performing love songs. In other times, a few of the numbers might have been labeled protest songs. According to their author they are ironic stories that challenge the prevailing morality of our times, characterized by intolerance, economic opportunism and the return of religion. -
Dissertation Revision
Harmonic Centricity in Philip Glass’ “The Grid” and “Cowboy Rock’n’Roll USA,” an original composition by Matthew Donald Aelmore B.M., Wichita State University, 2009 M.M., Manhattan School of Music, 2011 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music Composition and Theory University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Matthew Donald Aelmore It was defended on March 26, 2015 and approved by Marcia Landy, PhD, Professor of English/Film Studies Eric Moe, PhD, Professor of Music Composition and Theory Andrew Weintraub, PhD, Professor of Ethnomusicology Dissertation Advisor: Amy Williams, PhD, Professor of Music Composition and Theory ii Harmonic Centricity in Philip Glass’ “The Grid” and “Cowboy Rock’n’Roll USA,” an original composition Matthew Donald Aelmore, PhD University of Pittsburgh, 2015 Copyright © by Matthew Donald Aelmore 2015 iii Harmonic Centricity in Philip Glass’ “The Grid” and “Cowboy Rock’n’Roll USA,” an original composition Matthew Aelmore, PhD University of Pittsburgh, 2015 This dissertation analyzes the harmonic syntax of Philip Glass’ music for the scene “The Grid,” from the 1982 Godfrey Reggio film Koyaanisqatsi. Chapter 1 focuses on the five harmonic cycles, which are presented in twenty-one harmonic sections. Due to the effects of repetition, Glass’ harmonic cycles are satiated from the relationships of consonance and dissonance that characterize tonal harmony. The five harmonic cycles, which appear in twenty-one sections, are analyzed in terms of the type of harmonic centricity they assert: tonally harmonic centricity, contextually asserted harmonic centricity, and no harmonic centricity. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school. -
CMA Celebrates Philip Glass's 80Th with Screenings of the Qatsi Trilogy
CMA celebrates Philip Glass’s 80th with screenings of the Qatsi Trilogy by Mike Telin “Philip Glass is turning 80 on the 31st of this month, and I thought that was certainly cause for tipping the cap to one of the most famous composers of our time,” said Tom Welsh, Cleveland Museum of Art’s Director of Performing Arts, during a recent telephone conversation. “As a composer, Glass had a real impact on the whole world — not just in classical music, but everything — and I thought that was worth recognizing.” Beginning on Friday, January 27 and continuing through Sunday, CMA and the Cleveland Institute of Art Cinematheque will celebrate Glass’s 80th birthday with a presentation of The Qatsi Trilogy: Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi by filmmaker Godfrey Reggio with landmark musical scores by Glass. “We decided to organize the weekend in a way that allows people to enjoy them one day at a time — Friday, Saturday, and Sunday — or take in all three during one sitting on Saturday,” Welsh noted. “This is a great opportunity to see them in the theater, on the big screen with a big sound. They are meant to mesmerize, and they do.” A complete schedule is below. Welsh said that it was not easy to figure out the best way for CMA to honor Glass’s birthday, but after searching through the composer’s extensive catalogue of music, the trail quickly led to Koyaanisqatsi. “I think it’s a masterpiece. I try to use that word sparingly, but the marriage of Glass’s music with Reggio’s film does make it a masterpiece. -
Verbal Features of Film Reviews in the Modern American Media Discourse
Online Journal of Communication and Media Technologies, 2020, 10(3), e202020 e-ISSN: 1986-3497 Verbal Features of Film Reviews in the Modern American Media Discourse Marina R. Zheltukhina 1* 0000-0001-7680-4003 56669701900 A-7301-2015 Gennady G. Slyshkin 2 0000-0001-8121-0250 57191286505 G-1470-2014 Galina N. Gumovskaya 3 0000-0002-5823-792X Ekaterina A. Baranova 4 0000-0003-1794-9936 57211620013 AAF-3744-2019 Natalia G. Sklyarova 5 0000-0002-2875-3317 57193058610 K-3848-2017 Ksenya S. Vorkina 6 0000-0002-3804-3925 Lyudmila A. Donskova 7 0000-0002-7432-3908 1 Institute of Foreign Languages, Volgograd State Socio-Pedagogical University, Volgograd, RUSSIA 2 Institute of Linguistics and Intercultural Communication, I.M. Sechenov First Moscow State Medical University (Sechenov University), Institute of Law and National Security, Russian Presidential Academy of National Economy and Public Administration, Moscow, RUSSIA 3 Foreign Languages Department, National Research University Higher School of Economics, Moscow, RUSSIA 4 Communicative Management Department, Journalism Chair, Russian State Social University, Moscow, RUSSIA 5 Institute of philology, journalism and cross-cultural communication, Southern Federal University, Rostov-on-Don, RUSSIA 6 Faculty of Philology, Peoples’ Friendship University of Russia (RUDN University), Moscow, RUSSIA 7 Department of Foreign Languages, Kuban State Agrarian University, Krasnodar, RUSSIA * Corresponding author: [email protected] Citation: Zheltukhina, M. R., Slyshkin, G. G., Gumovskaya, G. N., Baranova, E. A., Sklyarova, N. G., Vorkina, K. S., & Donskova, L. A. (2020). Verbal Features of Film Reviews in the Modern American Media Discourse. Online Journal of Communication and Media Technologies, 10(3), e202020. https://doi.org/10.30935/ojcmt/8386 ARTICLE INFO ABSTRACT Received: 18 Feb 2020 The article discusses the verbal specifics of film reviews. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
ABSTRACT Writing and Directing the Short Film, Stray Brynn David
ABSTRACT Writing and Directing the Short Film, Stray Brynn David Sankey, M.A. Advisor: Christopher J. Hansen, M.F.A. This thesis outlines the process of writing and directing the short film, Stray. It will also examine many of the underlying theoretical and filmic influences that have informed the director’s creative decisions and methodological approach. Personal goals and thematic content is discussed, and a full script analysis is also provided. ! Writing and Directing the Short Film, Stray by Brynn David Sankey, B.M.C.M. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick, Ph.D. Marion D. Castleberry, Ph.D. Accepted by the Graduate School August 2015 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2014 by Brynn Sankey All rights reserved ! TABLE OF CONTENTS ! "#$%!&'!'#()*+$!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!-! ./01%+*!&2+!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!3! Introduction ......................................................................................................................1 Personal and Professional