Project: New Cinephilia invited music journalist and book author Michael Azerrad (Our Band Could Be Your Life; Come As You Are) to create an audio/video installation that spoke, in some fashion, to the way that rockers are depicted in the movies. As co-producer of Kurt Cobain About a Son, a documentary based on his marathon conversations with the Nirvana frontman, we figured he would have something provocative to say about such representations, and we weren’t disappointed. “Hot Freaks: Fictional Rock Stars on Film” is an annotated guide to a very prevalent, but under-noticed conceit in the movies. It will be on display at Festivalhouse@Teviot from June 16-23, 2011, as part of the Edinburgh International Film Festival.Continue reading →
Opening Seen debuted in March 2008 at the Whitney Biennial, as part of a live broadcast on Neighborhood Public Radio, a guerrilla radio group which sets up temporary booths and broadcasts content via FM radio and over the Internet. It was then streamed a month later on Viva Radio, an Internet radio station where Gabriele Caroti hosted a weekly radio show called “The Thicket.” The annotations appear here for the first time at the Edinburgh Film Festival’s “Project: New Cinephilia” web site, along with the entire program, which is free to download.Continue reading →
Everyone has a relationship to movies. One of our goals at Project: New Cinephilia has been to invite contributions from artists, writers, and others across non-cinematic disciplines to share with us the ways in which film has shaped or informed their creative practice. At Edinburgh’s Festivalhouse@Teviot on June 16, we’ll be debuting a new exhibit entitled “At the Movies with Marcellus Hall: Illustrations from The New Yorker, 1993-2010.” Accompanying the illustrations are annotations we’ve commissioned from Hall that speak to both his process and, at times, the impact of the films he has been assigned to cover. Below are two pieces that ran in other magazines, three from The New Yorker, and one previously unpublished work, debuted exclusively online by P:NC.Continue reading →
Art about art-or better put, art through art–is a tradition as long as artistic and literary history itself, extending back through many centuries of literature and visual representation and forward into film history, from well before John Keats’s ode on an urn to well after Buster Keaton’s comedies about a film projectionist and cameraman.[i] Like its forerunners, film’s versions of this reflexivity both create and participate in their own aesthetic principles, overlapping their representations of other artistic and aesthetic experiences with their own cinematic processes and frequently reflecting those processes as a reflection on film itself. Continue reading →
Before I write another word, I want to acknowledge the quality of everyone’s responses. This has been a really interesting discussion.
I want to begin with Daniel’s inversion of my badminton birdie metaphor. I think he’s absolutely correct on that count. What’s being swatted around is the film-under-consideration itself – swatted and batted and kneaded and punched and rolled like pizza dough, ranked in a series of endless beauty contests with other movies, categorized and re-categorized, but never quite looked at. Continue reading →
I’m going to dive into the middle of Neil’s great opening statement before I have a nibble at the edges. ‘Personally speaking, I’m interested in how modern cinephilia overlaps with the business of making a living from film – making them, writing about them, programming them’, he says, and I agree. Perhaps one of the reasons the notion of cinephilia is being debated is to do with this particular question, but it’s hard to talk about business and making livings in relation to this art form that we love, and easier, perhaps, to talk about why and how we love it. Continue reading →