Some weeks ago, I met Celeste Araújo (one of the programmers of the Xcèntric‘s programme of experimental film). She told me that once she had made a tapestry from one of my works (D_FragTV) and I really flip out! I asked her if she could send me a photo of her tapestry and here it is.
This is so nice that I don’t know want to say, so I’ll just say a big THANK YOU!!!
It’s that time of the year in which everybody writes best-of-the-year lists, all I have to say this year is this, paraphrasing Matt Zoller Seitz:
“Other series were more comprehensible, and nearly all were less gore-soaked, but none was as consistently innovative and sublime … This visionary drama evoked German Expressionist cinema, glossy-pretentious art-house pictures … super-sexy fan fiction, and even experimental film. … The climactic showdown … was the most orgiastic display of choreography, music, lighting, and gore … [its creator] might as well have reached through the screen and handed viewers a cigarette and a towel.”
Guess what he’s talking about.
“The 10 Best TV Shows of 2015,” Matt Zoller Seitz, Vulture.
Warning: This film contains flashing images and stroboscopic sequences
This one is from A Field in England by Ben Wheatley. I remade the original intertitle that I had because it was a bit small for a HD video.
Due to Violent Content, and Flashing Lights with Strobe Effects, Viewer Discretion Advised
This one is from Hannibal, my favourite TV series ever (it’s from “Takiawase”, season 2 episode 4). The DVD doesn’t include this warning at the beginning of the episode, but it was there when it was broadcasted on TV.
“Television, says Shaviro, ‘is part of our everyday experience; it quietly insinuates itself into our personal lives. We get so deeply involved with television precisely because it doesn’t imperiously demand our attention. It is simply there, day in and day out, like wallpaper or a piece of furniture.'”
Motion[less] Pictures: The Cinema of Stasis, Justin Remes.
Hannibal, “Secondo” (season 03, episode, 03).
World Listening Day Project
“Viewers watch TV while reading, writing, cleaning, cooking, eating, drinking, talking on the telephone, interacting verbally and physically with friends, family, and lovers—this in distinction to moviegoing which, to a large extent, retains a special event status, framed off from the activities of the daily routine. In other words, television reception is much more than just ‘watching television’; it’s messy, impure, contaminated with non-television.”
“Television Reception,” Journal of Film and Video 37, no. 3 (1985), Dennis Giles.
“What we see is dictated by what we hear. You can verify this by a simple experiment. Turn off the sound track on your television set and use an arbitrary recorded sound track from your tape recorder: street sounds . . music . . conversation. . recordings of other TV programs, radio et cetera. You will find that the arbitrary sound track seems to be appropriate . . people running for a bus in Piccadilly with a sound track of machine-gun fire looks like 1917 Petrograd. You can extend the experiment by using material that is more or less appropriate to the image track. For example take a political speech on TV shut off sound track and substitute another speech you have prerecorded . . hardly tell the difference . . isn’t much . . Record the sound track of one Danger Man spy program and substitute for another . . Try it on your friends and see if they can’t tell the difference.”
The Ticket That Exploded, William S. Burroughs.
Rain in films, a remix/podcast for the film magazine Détour. It accompanies an article (in Spanish) about the same subject. It’s included on a special issue about landscape in movies.