Found Footage Horror #1: The Dead Rising: Aspects of Spectrality in the...
This is the first of two articles riffing on found footage horror and new media. The second is Alexandra Heller-Nicholas’s “Found Footage Horror #2: Textures of Silence and Decay: Marble Hornets...
View ArticleFound Footage Horror #2: Textures of Silence and Decay: Marble Hornets and...
This is the second of two articles riffing on found footage horror and new media. The first was Sarolta Mezei’s “Found Footage Horror #1: The Dead Rising: Aspects of Spectrality in[...] The post Found...
View ArticleSpike Jonze vs. the Conspiring Escapist: On Her, Robert Coover’s Universal...
“What Jonze, Coover, and Švankmajer are all playing with in their distinctive, varying shades of dark humor are the dual perspectives of the Spielbergian audience, absorbed in the protagonists’...
View ArticleBringing Ira Sachs’ Love Is Strange into Focus
“Let us try to focus all our energy and all of our love on these two men, George and Ben.” “Always, always, you must focus on the instrument you are[...] The post Bringing Ira Sachs’ <em>Love Is...
View ArticleBoyhood: When Art Is Just Winging It
When the technology of transmitting typed words or smartphone photos and GoPro filming accompanies our every movement and all this runs far ahead of thought, a culture leaves behind both[...] The post...
View ArticleBlack Code: Documentarian Nick de Pencier Talks Surveillance/ Subveillance in...
Black Code sheds light on the commercialisation of cybercrime through the development of surveillance malware by security companies for sale to governments. Referring to Orwell’s seminal work 1984,...
View ArticleBeing the Story: Talking with Fabien Riggall about Secret Cinema
The secrecy part of Secret Cinema relates very much to this digital and automated world that we are living in. People increasingly want to get away from screens. They want[...] The post Being the...
View ArticleSenses of Times and Times of Death: Contemporary African Video Works at the...
We might presume the temporal slips at stake in an African video exhibit are squarely political or anticolonial, but the videos’ slow, reverse, and repeated motions also link politico-economic...
View ArticleGot a Light? David Lynch’s Festival of Disruption (Oct. 13-14, 2018)
Francis Ford Coppola introduced the screening of his Robin Williams vehicle Jack. Since this was the Festival of Disruption, Coppola said he wanted to “disrupt” by screening his worst film,[...] The...
View ArticleSexual Politics: On Olivier Assayas’s Non-Fiction
What interests me (and I suspect, Assayas) is not so much the substance of these dinner table debates, which tend to move in predictable repeating circles, as their texture. People[...] The post Sexual...
View ArticleVideograms of a Revolution: Surveillance, Self-Regulation, and...
[This review contains spoilers for the films Glass and The Village.] “There are unknown forces that don’t want us to realise what we are truly capable of. They don’t[...] The post Videograms of a...
View ArticleThe Audience of Antagonism: Mark Lewis’ Don’t F**k With Cats
“We are not so much a society where nobody knows anybody as we are a society where only media celebrities are considered to have actual existence.” –[...] The post The Audience of Antagonism:...
View ArticleFrom Bergen to Oslo and Beyond: All Aboard the Slow TV Train
Yet if Slow TV is concerned with capturing movement, which is actually quite fast during the journey, why then is it also slow? The slowness is in the pace and[...] The post From Bergen to Oslo and...
View Article
