Hot Freaks: Fictional Rock Stars on Film

By Michael Azerrad

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

Narrowing the gap

From Genevieve Yue

Michael pointed me to David Bordwell’s great and polemical piece, “Academics Vs. Critics,” and while I agree with much of the essay (I appreciate, especially, the care Bordwell takes in offering a bridge between the two camps), the scholar-critic divide doesn’t appear quite as stark to me. Of course I’m writing with only six years in the academy and not Bordwell’s thirty, but that might be part of the generational point. If film criticism was considered a lower form of journalism than art or architecture writing in the past, then it’s certainly on par today, at least from the perspective of university training. Continue reading

The illustrated man

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 Below are two pieces that ran in other magazines, three from The New Yorker, and one previously unpublished work, debuted exclusively online by P:NC.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