Peter Kubelka: I met Brakhage the first time in 1958, on the occasion of the World Exhibition in Brussels, which included an experimental film competition. Of course, you know I always hated the word “experimental” – because I simply consider myself a filmmaker, period.
Toni D’Angela, Technology, Theology, and détournement
More Light on the Subject: Reflections on Hollis Frampton
Edited by Toni D’Angela, Bruce Jenkins, Olga Kobryn
Anne Breimaier, Ken Eisenstein, André Habib, Katy Martin, Giles Filke, Marie Rebecchi, Mike Zryd, Bill Brand, Swann Rembert, Pedro Florêncio, Érik Bullot, Rebecca A. Sheehan, Jeremy Meckler, Clint Enn, Fern Silva, Miriam Ouertani
Murray Pomerance, The Prophylactic Hand
Toni D’Angela,1976: Ici et ailleurs. Fino alla vittoria!
Giusy Pisano, Avec les oreilles d’aujourd’hui : revenir à l’écoute de Godard
Mark Rappaport, You Silvana, You Capucine
Elisa Mancioli, Stacy Alaimo: questions of caring for the common
Dispatches from the Brakhage Symposium, February 21st and 22nd, University of Colorado, Boulder
Edited by Kelly Sears
Sergio Benvenuto, Godersi un film. Ritorno ad Aristotele
Editors’ Introduction: The Lab of Thought
• Conversations • Collaborations • Confluences
Roundtable Interview: Anne Breimaier, Ken Eisenstein, André Habib, Bruce Jenkins, Giles Fielke, Olga Kobryn, Mike Zryd, Curiouser and curiouser: Into the rabbit hole(s) of Hollis Frampton scholarship
Marie Rebecchi, Introduction to Bruce Jenkins
Bruce Jenkins in conversation with Olga Kobryn and Swann Rembert, Encountering Frampton
Anne Breimaier, Interview with Kasper König
Katy Martin, An Interview with Bob Huot about his Friendship with Hollis Frampton
Bill Brand, Hollis Frampton in the Mix
• Frampton and Cie
Ken Eisenstein, “Lacing a Terrain”: Hollis Frampton’s Knockout Layouts
André Habib, Epics of Re-use: Hollis Frampton and Early Cinema
Swann Rembert, “JB after HF”: Emprunts, résonances, copie
• Metahistories Revisited
Toni D’Angela, Frampton before Zorns: La superficie di tensione tra audio e visione
Pedro Florêncio, Sobre Informacion (1966), de Hollis Frampton
Figures of Style: Film and the Other Arts
Érik Bullot, Figures de style
Giles Fielke, Unprepossessing Apostrophes: Joyce, Frampton, and the Spectre of Narrative
Rebecca A. Sheehan, Unfolding a Tesseract: Sculpture, Cinematic Plasticity and Frampton’s Inventive Eye
• Film and its Politics
Jeremy Meckler, For a Metahistory of Film Studies: On Hollis Frampton’s Metahistory and the Development of Film Pedagogy at SUNY at Buffalo
Olga Kobryn,The artist-run Film Lab : film and its politics
• New Technologies
Clint Enn, Circumnavigating Frampton’s Magellan: Charting a Self-Conscious Cinema
Fern Silva, Critical Mass and the Age of the Prompt
Miriam Ouertani, Le film comme dispositif techno-sémiotique : Hollis Frampton et la genèse computationnelle de l’image en mouvement?
Edited by Toni D’Angela, Bruce Jenkins, Olga Kobryn
At the beginning of his Returning to Benjamin. Art in the Age of AI (MACK, 2025), Victor Burgin asks if the digital reproducibility, finally, makes true and real the confidence that Walter Benjamin expressed in his seminal and influential The Work of Art in the Age of its Technological Reproducibility, in the middle of the […]
Although I’m not a conventional scholar, I hold a unique position in Hollis Frampton scholarship as his friend, younger artist peer, and, for the past 40 years, primary preservationist of his films. We had a warm relationship, and he had a significant influence on my life, as to some degree I had on his. He […]
Ce texte s’inscrit dans le prolongement d’une communication présentée lors du colloque international Hollis Frampton: From Form to Idea to Form of Idea. Critical Thinking and Metahistory as Acts of Research-Creation. Prenant pour point d’appui Zorns Lemma (1970) et Poetic Justice (1972), il interroge le statut du film à partir de son organisation procédurale, de ses conditions matérielles de fonctionnement […]
November 2025 Katy Martin talks with Bob Huot about his friend, Hollis Frampton, focusing on what each of them were doing and how their art, teaching and everyday lives overlapped. Bob and Hollis met each other, in the 1960s, in the vibrant, burgeoning art scene in downtown Manhattan. Later, they owned farms within a few […]
Toni D’ANGELA, Bruce JENKINS, Olga KOBRYN (dir.) with the assistance of Swann REMBERT Photo by Marion Faller. Image copyright estate of Marion Faller. Editors’ Introduction: The Lab of Thought by Bruce JENKINS, Toni D’ANGELA, Olga KOBRYN “Cinema is a Greek word that means ‘movie.’ The illusion of movement is certainly an accustomed adjunct to the film […]
Fig.1 Zorns Lemma (Frampton, 1970). « JB after HF » pourrait désigner, au-delà du rapport entre ces deux figures que sont James Benning et Hollis Frampton – rapport de proximité, de fraternité, de parenté esthétique, de prise de relais, d’inspiration, tout ce que l’on pourrait imaginer exsudant de ce « after » – une œuvre qui n’existe pas, ou […]
This paper was read on February 18th 2026 at l’INHA/Pompidou, during the Paris symposium « Hollis Frampton: From Form to Idea to Form of Idea », as a somewhat elaborate introduction to the film program “Épique du remploi : Hollis Frampton et le cinéma des premiers temps”[1]. The program, a blend of films from the […]
Spring 2026 Photo by Marion Faller. Image copyright estate of Marion Faller. “It was a time when the boundaries between intellectual life, artistic life, and everyday social life felt much more porous than they do now. The atmosphere was informal, intense, and very alive. People would sit for hours listening, arguing, smoking, watching films, and […]
In 1971 Hollis Frampton published an essay in Artforum called “For a Metahistory of Film: Commonplace Notes and Hypotheses.”[1] Like much of his writing and many of his films, this essay demonstrates his playful wit and encyclopedic knowledge of fields from theoretical mathematics to classical languages, literary modernism to relativistic physics. The essay is written as a paratactic […]
This text was not written by a literary studies expert, nor a close reader of James Joyce (1882–1941). The following remarks are intended to be read as from an art historian thinking through the legacies of photography and film. They are, more specifically, thought through a kind of technical language enunciated by Hollis Frampton (1936–1984). […]
Prologue: Abstract Goals Hollis Frampton’s “Statement of Plans for Magellan” sets out nine goals for his unfinished magnum opus. In this article, I will focus on the first and last goals and suggest some of the ways in which they might be conceptually intertwined and interconnected. Frampton first goal, which film theorist Michael Zryd refers to as […]
Hollis Frampton begins his 1973 essay, “Eadweard Muybridge: Fragments of a Tesseract” by lamenting “an irksome paradox of public consciousness” that, “to be accorded the status of a legend is to be whittled down to a microscopic point, a nonentity at the intersection of a random handful of idiosyncrasies, tidbits of gossip, shreds of advertising […]
The following roundtable discussion took place online January 10th, 2025, with participants Zooming in from North America, Europe, and Australia. The roundtable included some, though by no means all, of the most active English-language scholars of Hollis Frampton’s writings, films, and other artistic work. The discussion revealed the central importance of methodology, interdisciplinarity, and historical […]
Bruce Jenkins’s engagement with the work of Hollis Frampton spans several decades and takes multiple forms, including essays, exhibition catalogues, edited volumes, and interviews. Among the most significant are his role as editor and author of the introduction to On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (MIT Press, 2009), as well as […]
Figure 1. A still from Frampton’s Drafts & Fragments (1974) and Zorns Lemma (1970) astride an image from Duane Michals’s The Lost Shoe (1969). Strides might glide on strolls, but rambles are best with wobbling folds. Rock, bend, reach out for balance; attention below…collapses and curves forward’s flow. The art of Hollis Frampton pulls at […]
#8 Hollis Frampton, Phenakistiscope, S.M.S 4, 1968.“Ball” (Side 1) & “Lollipop” (Side 2) Kasper König (1943-2024) was one of the preeminent German exhibition organizers in postwar history. His career as a curator began in New York City, where he lived between 1968 and 1975. He established close contacts with key figures in recent American art […]
With feminist, critical lenses, do we believe that building a relational (and posthuman) net of care and caring that is not tied to control is possible? Can we care for plants, animals, people and places without having some kind of claim on them? And if so what does this kind of care look like? How do we act on it?
A beautiful woman like you, a woman with a sense of humor… You had affairs with dead actors who were fortunate enough to have been in films that survived better and longer than yours. Does any of it matter now? Life is brutal. Life is unfair. Yours. Theirs. Ours. But let’s put it another way. You had something that most of us never get.
C’est d’autant plus vrai en 2026 : que faire pour apporter plus qu’une synthèse des fenêtres déjà ouvertes ? Se mettre dans la posture d’une spectatrice acoustique en partant de l’idée que l’écoute des films de Godard est « un processus de partage, de recherche, d’enregistrement, d’écoute et de réécoute ».
Il grecista Jean-Pierre Vernant mi disse: “Gli spartani di Eschilo ci commuove. Perché evoca qualche complesso psicologico, oppure perché è la tragedia stessa a commuoverci?” Per lui, ci commuoveva la tragedia. Ma cosa significa “è l’opera stessa a commuoverci”?
Anni fa conversai con un amico su un film d’autore, che a me non piacque molto. All’amico invece piacque, e analizzò tutti i sensi sottintesi, le correlazioni sottili del film, in modo brillante. Al che risposi: “Anche io avevo colto questi sensi. Ma il film non mi è piaciuto lo stesso”.
Hollis Frampton’s Critical Mass (1971) turns a lovers’ quarrel into a study of how communication breaks down under pressure, and how film form can produce that breakdown. Shot with two SUNY Binghamton students improvising an argument and then meticulously re-edited, the film begins with a blank screen and only audio before image appears; from there […]
La figure de Hollis Frampton suscite souvent chez ses exégètes une aura de fascination. Différents traits biographiques confèrent à sa personnalité un brio mythologique, qu’il s’agisse de son éducation dans des écoles pour élèves surdoués, de son étude des langues ou des mathématiques, de la fréquentation du poète Ezra Pound à Washington, de sa culture scientifique, de l’érudition vertigineuse dont témoignent ses écrits et ses entretiens. Difficile d’échapper à ce jeu de séduction. Le style de ses essais, elliptique, érudit, nous captive.
Information, de Hollis Frampton, consiste numa experiência rigorosamente elementar: um plano negro atravessado por pontos luminosos, que surgem, desaparecem, oscilam, repetem-se. Não há figuras reconhecíveis, nem espaço identificável, nem qualquer ancoragem narrativa. O que vemos é exclusivamente o resultado da relação entre luz (ou melhor, pontos luminosos) e escuridão, ao longo da duração do filme.
There is a remarkable moment—one among legion—in Vertigo (1958), stunning for at once its simplicity and its complex depths. It is surely a gateway, although to know into what it leads is a challenge not fully to be met by even the most appreciative in the film’s large audience.
L’et è, anzitutto, il montaggio di ordine e disordine, realtà e sogno, qui e altrove. L’et è la disgiunzione che congiunge lo spettacolo integrato sovietico con lo spettacolo diffuso americano, un capitalismo e con l’altro. Ma l’et non è più, come negli altri film (in pellicola) ciò che sta tra le immagini, che si infila, che fa da frammezzo, fessura, intervallo. In Ici et ailleurs l’et si schiude, si invagina nell’immagine.
La science-fiction ha a che fare con eventi che non sono accaduti e non con eventi che potrebbero accadere, come nel caso della fiction naturalistica, o che potrebbero non accadere, come nel caso della letteratura fantastica. La science-fiction è ingaggiata nella costruzione di “mondi alternativi” e pertanto si definisce in funzione di un “orientamento futuristico”.
Kelly Sears: After concluding the 2026 Brakhage Symposium, I found myself reflecting on the beautiful, playful, and deeply resonant work we basked in together over two days. Hosted by the Brakhage Center, the 2026 Brakhage Symposium took place at the University of Colorado Boulder on February 21st and 22nd. This marked my second year as […]
Le ricerche archeologiche di Foucault dimostrano che sapere è concatenato a potere e soggettivazione, pertanto nulla preesiste al sapere che però non è una semplice – o moderna troppo moderna – relazione gerarchica tra soggetto (che sa) e oggetto (che è saputo), non è nemmeno mera congiunzione, raccordo tra visibile e dicibile ma, come in Blanchot o nei film di Godard mai anche in quelli del più “classico” ma già moderno Joseph L. Mankiewicz, dis-giunzione, non-rapporto tra audio e visione. Sapere è la rissa tra parole e cose, stretta fra lottatori.
I film di Hollis Frampton sono una riflessione e un’espressione di questa addizione/agencement deleuzeano e di questa rissa foucaultiana tra audio e visione.
Vous êtes embarqué! Pascal shakes us from our pleasure, that which Hal Foster called “fascist” speaking of the spectatorial consumption of images of the First Gulf War: that which contemplates from far away. Land is not still anymore, but it is not enough to suffer with those others that the sea violently returns to land, dissolving their solidity. Like the brave ones that embarked towards Gaza, we do not solely need to get busy making the Lesbarkeit der Welt more interesting, as Blumenberg suggests, but also to interrupt the course of the world […]
Toni D’Angela, Il cimitero digitale o del viaggio impossibile
Sérgio Dias Branco, (A)Religious Film: Materialism and Mourning in The Shrouds
Vincent Jacques, Scopophilie haptique et atermoiements de la raison dans The Shrouds : d’une poétique de la chair à l’esthétique du numérique
Quim Casas, El cuerpo y la palabra
Carlos Losilla, Lo que queda de un film
Oriol Alonso Cano, El limbo de la carne: el duelo del cuerpo en The Shrouds
Gerard Cassadó, No hay nada más real que una alucinación
Núria Pinillos, The Shrouds, Símptoma d’una imatge en conserva
Jorge Gorostiza, Habitando la muerte. La arquitectura en The Shrouds
Mireia Iniesta, En la hora del lobo
Vincenzo Frungillo, Il sudario
Luciano Mazziotta, Come e che cosa ho pensato pensando The Shrouds
Robert Monell, Cronenberg explores the beyond
Silvia Listorti, Ogni volta che il respiro grida in me (Sooft Der Atem in mir schreit)
Gabriele Massaro, Cassa Armonica
Edited by Toni D’Angela & Carlos Losilla
Abbas Fahdel, Gaza, compas moral du monde
Sylvain George, Le Madleen ou l’inachevé comme forme politique
Sylvain George, Les flottilles pour Gaza ou l’inachevé comme forme politique
Sylvain George, « Le monde doit s’arrêter ! » – Un message de la flottille de la liberté
Irmgard Emmelhainz, Reality, Realism and the Excess of the Real In Palestinian Visual Presence and Absence and the Nakba
Mark Rappaport, Madame Bovary, c’est moi
Toni D’Angela, Jeanne Dielman o la de-composizione del lavoro
1. Ho nutrito da sempre una certa difficoltà nell’utilizzo e nella fruizione di termini che abbiano a che fare con la contemporaneità tecnologica. Se in un testo creativo o saggistico che sia leggo intelligenza artificiale, google, social, e-mail mi ritraggo. Va da sé che servirmene sarebbe fare violenza a me stesso. Il discorso si attenua […]
Cronenberg articulated a more dialectical position, describing himself not as an atheist but as a materialist — one for whom existence is defined by the physical and the tangible rather than the transcendent.
Cronenberg’s cinema has always been grounded in this uncompromising materialism.
Il est des lieux qui condensent l’Histoire au point de devenir des seuils : seuil entre la lumière et les ténèbres, entre la vérité et le mensonge, entre l’humanité et la barbarie. Gaza est de ceux-là. Gaza est l’Apocalypse en marche : non pas la fin du monde, mais la fin d’un monde – celui […]
Esta minuciosa planificación permite usar un método narrativo convencional a través de la alternancia de planos generales, con otros cercanos, planteando los diálogos en plano contraplano, a veces entre una persona y una pantalla, en la que se va desarrollando un argumento poco usual, donde juega un papel esencial ese espacio singular, sin paramentos verticales que lo divida y al mismo tiempo diverso y separado por sus superficies a distintos niveles que definen sus distintas funciones, un ámbito arquitectónico que por su configuración, uso y materiales, puede rememorar a un panteón construido para habitarlo, pero también como representación del pensamiento propio de una persona singular.
To date, Palestine is the emblematic figure of the problem of her own imaging. This predicament is a fact of Palestinian’s powerlessness to appear as a nation due to the dissolution of territorial frontiers and physical expulsion and extermination of Palestinians accompanied by the discursive and visual programming of their absence.
D’autres, ailleurs, suspendent eux aussi le cours de leurs vies, composent avec vous une communauté de l’arrêt.
Ainsi, les flottilles composent une mémoire insoumise. Non pas une mémoire de la victoire, mais une mémoire de la persistance. Non pas l’achèvement, mais l’inachèvement comme forme politique. Non pas la totalité, mais la constellation fragmentaire d’actes vulnérables et obstinés qui, au cœur du désastre, rappellent l’urgence d’agir et le refus du consentement.
Voilier modeste chargé de vivres offerts par les habitants de Catane, le Madleen avait quitté la Sicile le 1er juin pour Gaza. Dans la nuit noire du 9, il a été intercepté dans les eaux internationales et ses passagers arrêtés, ce qui constitue un cas de violation manifeste des lois internationales. Mais s’il ne parviendra jamais à destination, il aura pourtant fait trembler l’ordre des choses, non par sa force, mais par le silence qu’il met à nu, celui d’un monde qui détourne le regard pour mieux administrer l’effacement.
—signed, Vincente Minnelli
Nel 1975 Federici pubblica un testo strategicamente decisivo e che fa epoca. Martha Rosler, cioè l’artista femminista forse più importante di quegli anni, realizza un videotape che entra in relais con un secondo testo scritto sempre da Federici nel 1975. E sempre nel 1975 Chantal Akerman gira quello che è il suo film più celebrato e che è come una presa in carico e una simbolizzazione sia del videotape di Rosler che dei testi di Federici.
The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins?
Edgar Allan Poe
“…
Ora, nell’ora buia,
rovina nella fibra digitale,
scompare, e con te
le tue dita di sposa,
la tua voce generosa,
la luce della pelle
che mi ha insegnato
il calore delle cose.
Avrei voluto per te la morte
dell’eroe, salvarti
dalla decomposizione
…”
En todo caso, para filmar la apariencia de su muerte en el corto The Death of David Cronenberg (2021), su obra pospandémica, Cronenberg no recurrió en los sesenta segundos que dura el filme a ninguna palabra: solo dos cuerpos repetidos, el muerto y el vivo, colocados uno al lado del otro; el muerto, por supuesto, no puede hablar; el vivo se limita a besarlo y acariciarlo.
Este punto de vista relacional es interesante porque en The Shrouds la cuestión de la corporalidad está en estrecho diálogo con la temática del duelo. No penetraremos en una explicación psicologista del mismo, pero sí que detendremos brevemente la mirada en un tema vinculado con él, y que para Cronenberg es relevante a lo largo de su obra, y que alude a la tesis del duelo imposible articulada por Jacques Derrida en diversos tramos de su pensamiento.
Al segle XIX, acompanyant el sorgiment de la fotografia, es popularitza – evidentment, entre les famílies benestants- la pràctica de la fotografia pòstuma. Post mortem. Un record que fa perviure la imatge del difunt. Un últim crit, un últim i desesperat intent per no desaparèixer. Dos segles més tard, ara des de la ciència, seguim en aquesta carrera antinatura. La biotecnologia, per exemple, mira més enllà de l’utilitarisme. Té “una vocación ontológica, una aspiración trascendental” i la tecnociència apunta cap a una subversió de la prioritat d’allò orgànic sobre allò tecnològic. Així, Paula Sibilia parla d’una “tecnología de la inmortalidad” (2009, 53-54).
Acudo arduo a ChatGPT para comprobar si eso de la putrefacción de los dientes en casos de profunda tristeza es posible. La inteligencia artificial de OpenAI me deja claro que “el duelo en sí mismo no hace que los dientes se pudran”, aunque señala que efectos colaterales como el bruxismo, el descuido de la higiene o la sequedad bucal sí podrían afectar a la salud dental. Entiendo la frase, pues, como una licencia poética por parte del dentista (…)
Esa diferencia entre realidad y onirismo ha desaparecido. En la hora del lobo, lo espectral y lo tangible van de la mano sin que podamos casi advertirlo, fruto del dolor de un hombre o de la lucidez de un cineasta.
« Tout s’en va vers un même lieu ; tout vient de la poussière, et tout s’en retourne à la poussière », dit l’Ecclésiaste (Qo 3 : 20) (1). The Shrouds (Les Linceuls) film sur la mort et le deuil, s’ouvre sur un générique de volutes de poussière numérique dorées étincelantes. C’est que de la matière, dans […]
“Cuéntame sobre su cuerpo –inquiere Terry a Karsh hablando de Becca–. Has hecho de los cuerpos tu carrera”, y es como si estas palabras estuvieran dirigidas al propio Cronenberg de parte de un espectador ansioso. ¿Qué nos va a decir ahora sobre el cuerpo que no haya dicho ya? O mejor, ¿cómo nos lo va a decir? ¿Qué imágenes va a emplear, de qué manera va a ir más allá de ellas?
Quel viaggio in aereo di Karsh, nonostante le sue intenzioni da “turista” per cui il viaggio è ciò di cui si sa da dove si parte e dove ci porta, “non è un viaggio, è finito in anticipo. Si è già arrivati, e niente accade più” (Derrida). Il viaggio come esperienza è pericoloso e infatti il film si fa pericoloso, è danger, come dice Derrida, è minacciante, viaggio dell’impossibile: dangerous method, esperienza-traccia, Derrida direbbe “viaggio senza design”, men che meno quello digitale. Questo viaggio dell’impossibile è The Shrouds.
Silvia Listorti / Ogni volta che il respiro grida in me (Sooft Der Atem in mir schreit), 2025
Gabriele Massaro / Cassa Armonica
“Ma ben lontano dalla prigione di parole di cui parla McLuhan, il rovescio della medaglia è la grande malleabilità di questo linguaggio. Un linguaggio che assomiglia alla creta con cui possiamo sporcarci le mani, un linguaggio da accarezzare, modellare, strangolare. Il linguaggio digitale mette in bella mostra il suo aspetto materiale in modi che prima erano sconosciuti”.
K. Goldsmith
Land is not still anymore, but it is not enough to suffer with those others that the sea violently returns to land, dissolving their solidity. Like the brave ones that embarked towards Gaza, we do not solely need to get busy making the Lesbarkeit der Welt more interesting, as Blumenberg suggests, but also to interrupt the course of the world […]
LFU is this meeting space. Noi siamo come i coyote.
There is a need to rethink the boundaries of the old categories to connect epistemology, politics, and arts, representations and media; social justice and climate justice. LFU has always had a multispecies vocation and is increasingly involved in a trans scenario.
This is our contribution, our staying with the trouble – and causing some trouble.
Building on Haraway’s Staying with the Trouble: Facing the Trouble (Within)
Visualizing the Trouble
Artists and Creators Addressing the Trouble
Speaking From the Humanities
Economic Media
Edited by Raphaelle Occhietti & Toni D’Angela
/ Sonho, mercadoria, mundo. Três hipóteses para pensar A queda do céu
LUIS FELIPE KOJIMA HIRANO / Preliminary diffractions on the drawings of The Falling Sky Davi Kopenawa and Bruce Albert
GUADALUPE LUCERO / Pedagogía imaginaria para comedores de tierra
GABRIELA MILONE / Galaxia de decires. Voz y porta-voz en A queda do céu. Palavras de un xamã yanomami de Davi Kopenawa e Bruce Albert
PEDRO HUSSAK / Quatro regimes da imagem: ilusória, encarnada, dialética e xamânica
SALOMÉ LOPES COELHO / Sonho e yãkoana: hipóteses para pensar o cinema como travessia de mundos
SALOMÉ LOPES COELHO / Dream and yãkoana: hypotheses to understand cinema as the crossing of worlds
CARLA MILANI DAMIÃO / A queda do céu: considerações sobre o Postscriptum de Bruce Albert
NOELIA BILLI / La caída del cielo y la diplomacia vegetal
PAULA FLEISNER / “Para nosotros la política es otra cosa”. Paradojas de una pedagogía para enemigos ignorantes
Editado por Noelia Billi, Salomé Coelho, Carla Damião, Pedro Hussak, Guadalupe Lucero, Gabriela Milone, Paula Fleisner
RAQUEL SCHEFER / El cine de Ana Vaz. “Apiyemiyekî?”
ANA VAZ / Kamña’s Fire Kina’s Calling
CLAIRE ALLOUCHE et ANA VAZ / Au bord de Brasília, une archéologie cinématique. Dialogue avec Ana Vaz
Editado por/edited by Raquel Schefer
CATHY LEE CRANE and JOHN DI STEFANO / Querying and queering Pasolini: fragments of a conversation
TONI D’ANGELA / Jean-Luc Godard e il ’68. L’inizio di un’epoca
R. BRUCE ELDER / Woman’s Art and Ecological Aesthetics: The Way Forward – Part 2
Narcosi 8na+è:-_—
-,;:p”jwù+3. Simulacro
Lucerna 27-7-89
L’incredulità di San Tommaso
https://www.lafuriaumana.com/narcosi4/ maybe they won’t find out
L’ombra della cometa burst on the flag-poles in a red-blue dazzle
à4ça—-ahye! Simulacro
https://www.lafuriaumana.com/orizzonte/ 93çàèw—azt1 Nei Boschi
https://www.lafuriaumana.com/singolarita/ –px,2w°ò.
Ordine Implicito 0s3nt1R!3nEç https://www.lafuriaumana.com/simulacro/
che immonde carni vedresti sotto la pelle bianca! Narciso il narcolettico
Narcosi magra immortalità nera e dorata
https://www.lafuriaumana.com/un-oscuro-scrutare/ hak%2’à__,,, Narcosi
quel cranio vuoto e quel ridere eterno! Un oscuro scrutare
https://www.lafuriaumana.com/in-trattenuto/ z–°raéw https://www.lafuriaumana.com/di-durer-il-teschio/
Cassa armonica xH3°a éc7=o_;w- Lucerna
I materiali e la poesia. Da Frank Stella a David Hume
A lungo la pittura è stata idealismo, sublimazione del materiale, trasfigurazione della materia, investimento soggettivo dell’oggettività. La pittura di Ryman è un “making something visible”. Ryman ha detto: “I do something with the paint, but I’m not painting a picture of anything”. Già il Modernismo l’aveva fatta finita con la concezione della pittura come rappresentazione, finestra albertiana attraverso la quale guardare il mondo e leggere narrativamente il suo significato.
Mixture of subjects. Knowing, to say it with Pasolini, is heresy; moving from one heterogeneous system to another is what he has always sought in novels, poems and especially in films.
Toni D’Angela, La sorte funesta e lo splendore del fiore
Martin Pawley, Pinky y la cuestión racial
Eduardo A. Russo, Kazan y los bordes del noir: sobre Panic in the Streets
Toni D’Angela, Panic in the Streets o della narrazione intensiva
Ana Daniela De Souza Gillone, ¡Viva Zapata! reverso
Isaac León Frías, On the Waterfront: la propensión barroca
Toni D’Angela, Barthes, il vaccino dalla verità e la delicatezza. On the Waterfront
Eirik Frisvold Hanssen, Pioneer spirit: Wild River
Margarida Assis, To Be and Not To Be: America America
Carlos Losilla, Diez notas breves alrededor de The Arrangement: sobre la cuestión del fragmento
Quim Casas, Kazan y The Visitors en el nuevo mapa del cine norteamericano
Mireia Iniesta Navarro, El último Kazan: stay on her
Edited by Carlos Losilla and Toni D’Angela
Raquel Schefer & Sérgio Dias Branco, Ousmane Sembène: Inverting the Colonial Gaze
Mary Jane Androne, Work and Economic Change in Sembène’s Films
Sérgio Dias Branco, Land and Power: The Landscapes of Ousmane Sembène’s Post-Colonial Cinema
M. Gail Hamner, Mask and Materiality in Ousmane Sembène’s Black Girl
Jayson Baker, Black Girl and Global Media Culture
Eddy Troy, Images at Work: Ousmane Sembène’s Feminist Film Aesthetics
Savrina Chinien, Ousmane Sembène: The Throes of Postcolonialism?
Edited by Raquel Schefer and Sérgio Dias Branco
Salomé Lopes Coelho, Mariana Cunha & Angela Prysthon, Nature/Ch’ixi/Culture and the Cinemas of Latin America: An Introduction
Angela Prysthon & Lucca Nicoleli, Botanical Offerings, Plants as Gifts, Experimental Cinema and the World of Claudio Caldini
Paula Bertúa, Herbaria : Essays for a Material and Postnaturalist Memory of Botany and Film
Salomé Lopes Coelho, Los ritmos de la materia más-que-humana en la serie de films eco-revelados Metarretratos, de Azucena Losana
Salomé Lopes Coelho, De la planta a la pantalla: Diálogo con Azucena Losana a partir de su proyecto Metarretratos
Catarina Andrade & Álvaro Brito, Re-existence Through Cosmopoetics: A Decolonial Approach to Contemporary Cinema
Marcos Aurélio Felipe, ETÃN BË TALI BU: apontamentos sobre dimensões cosmofílmicas indígenas de Abya Yala
Constanza Ceresa, El cine como una experiencia situada: entrevista a Jeannette Muñoz
Federico Windhausen, Slow Onset: A Brief Consideration of Guillermo Moncayo’s Echo Chamber
Pedro Bezerra Melo, Irreconciliado e insubmissio: a estética do Colectivo Los Ingrávidos
Sebastian Wiedemann & Byron Davies, Ecologías post-naturales del cine experimental latinoamericano reciente: un diálogo
Erin Wilkerson, Feral Filmmaking: Wilding Cinema as a Decolonial Act
Pedro Urano, Becoming moita
Edited by Salomé Lopes Coelho, Mariana Cunha, Angela Prysthon
« La bonne distance, le sens du sacré ». Conversation entre Régis Hébraud, Raquel Schefer et Salomé Lopes Coelho
Mark Rappaport, MY VOLCANO/YOUR VOLCANO
Vanessa Nicolazic, Vincent Sorrel & Nicolas Tixier, Flaner les rues, relier des lieux. Les bal(l)ades grenobloises d’Aaton
R. Bruce Elder, Plotinus, Alfred North Whitehead, Electromorphic Art, and Feminine Ecopoetics
Toni D’Angela, Come in uno specchio. Da Godard a Godard
This is the third of three linked essays whose purpose is to triangulate ideas from Plotinus’s aesthetic built on a feeling of love for higher reality (and the analogy between aesthetic experience and henosis, the unification of One that is beyond being), the cosmology in which Alfred North Whitehead unfolded the metaphysical implications of the science of electromagnetism, and feminist art and the experience of parler femme.
Ousmane Sembène, with his pipe, interprets a secondary character, a professor of a “popular school,” in Black Girl (1966). Cinema appears as an instrument to raise “people’s awareness.” Ousmane Sembène (1923-2007),1 Senegalese filmmaker and writer, is one of the most striking figures in African cinema. His work emerged in the aftermath of Senegal’s national liberation […]
Quando Michel-Ange nel rosselliniano Les carabiniers (1962) di Jean-Luc Godard entra nella sala cinematografica per la prima volta nella sua vita ha le medesime reazioni che avevano gli spettatori dei fratelli Lumière. È atterrito e attratto. Cerca di spiare ed entrare dentro l’immagine, soprattutto per vedere meglio il corpo nudo dell’attrice, poiché questo – lo […]
1. LE FLUX DE LA VIE Dans le numéro 285 des Cahiers du cinéma paru en février 1978, Jean-Pierre Beauviala revient sur le projet de film qui fut, au milieu des années 1960, à l’origine de ses premières innovations techniques en matière de synchronisation image-son : « Études achevées, j’étais à l’Université faisant fonction de […]
Mark Rappaport, September 2013
En este espacio escritural nos gustaría desplegar una constelación y ecología de ideas y prácticas que hemos compartido como curadores y en el caso de Sebastian, adicionalmente como cineasta y educador, en el contexto del Coloquio Internacional de Cine y Filosofía que hemos coordinado en los dos últimos años (2023 y 2024), con versiones en […]
Desde 2012, quando iniciou suas atividades na cidade de Tehuacán, México, o coletivo Los Ingrávidos tem se dedicado ao questionamento crítico das narrativas históricas, problematizando como imagens e sons podem ser utilizados como tecnologias ideológicas a serviço do poder institucional do estado. Sinalizando a fusão entre forma e substância, sua produção explora as tecnologias ligadas […]
Quizá podamos pensar que en la diversidad de pensamientos, opciones de vida, maneras diferentes de hacer, sentir, actuar y pensar del mundo contemporáneo el arte se esté constituyendo en las comunidades y sujetos étnicos en una acto decolonial que interpela, increpa y pone en cuestión las narrativas de exclusión y marginalización. —Adolfo Albán Image production […]