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VP Recommends 1: Media City 2014

Listening to the Space in My Room (Robert Beavers, 2013)

The Visible Press Recommends : Media City 2014

The Media City Film Festival in Windsor, Ontario, celebrates its 20th anniversary this year. The programme, which includes Robert Beavers’ most recent film Listening to the Space in My Room, runs from 8-12 July and can be viewed online here.

Media City Film Festival is an annual international festival of film and video art presented in Windsor, Ontario and Detroit, Michigan since 1994. Each year the festival attracts filmmakers and audience members from around the world to participate in five days of screenings, live performances, exhibitions and artist’s discussions. Over the years the festival has achieved critical acclaim and international recognition for its “sheer excellence in programming” and is recognized as a leading venue in the world of artist’s film and video.

www.mediacityfilmfestival.com

Artforum article

“Little did I know when I made my first film at the age of twelve, A Christmas Carol, three minutes long … that the language of film was in constant birth within me, myself as a filmmaker …”

Rebekah Rutkof’s preview of “Gregory J. Markopoulos: Film as Film” at Anthology Film Archives is now online at www.artforum.com/film. The season continues until Saturday 13 September 2014.

GJM Anthology flyer

 

Writing, “Undercut” & the LFMC

Writing, ‘Undercut’ and the London Filmmakers’ Co-operative

A discussion around the London Filmmakers’ Co-operative, focussing on one of the key publications to emerge from it, Undercut (1981-1990). Published by a collective of filmmakers, artists, critics and writers, Undercut provided a unique platform for the debates and practices of experimental film and video throughout the 1980s. Chaired by Kathryn Siegel (King’s College London), our panel includes filmmakers Peter Gidal, Nina Danino, and artist / curator Michael Maziere.

Flare Out: Aesthetics 1966–2016, edited by Mark Webber and Peter Gidal, is published by The Visible Press. www.thevisiblepress.com

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About the Authors

Film as Film: The Collected Writings of Gregory J. Markopoulos
Edited by Mark Webber
The Visible Press, 2014

Gregory J. Markopoulos  (1928-92) is acknowledged as one of the pioneers of independent and avant-garde cinema. His films, which include Twice a Man (1963), Ming Green (1966), The Illiac Passion (1967) and Eniaios (1947-91), are in the permanent collections of the Museum of Modern Art (New York), Centre Georges Pompidou (Paris) and the Austrian Film Museum (Vienna). www.thetemenos.org

Mark Webber is a film curator based in London, who has been responsible for major screening events or touring programmes hosted by institutions such as Tate Modern, LUX and ICA (London), Whitney Museum (New York), Centre Georges Pompidou (Paris), Kunsthalle Basel, Oberhausen Kurzfilmtage, IFFR Rotterdam and many international festivals, museums and art centres. He was a programmer for the BFI London Film Festival from 2000-12, and is the editor of Two Films by Owen Land. www.markwebber.org.uk

P. Adams Sitney is a Princeton University professor and widely published critic. His Visionary Film: The American Avant-Garde, first published by Oxford in 1974, remains the definitive historical text on the subject. He is also the author of Modernist Montage, Vital Crises in Italian Cinema, Eyes Upside Down, and The Cinema of Poetry (forthcoming, including a chapter on Markopoulos), and editor of The Film Culture Reader, The Essential Cinema, and The Avant-Garde Film.

Peter Gidal: 1

Introduction to Peter Gidal: 1

Peter Gidal, Clouds, 1969, 10 min
Peter Gidal, Flare Out, 1992, 20 min
Peter Gidal, Volcano, 2002, 30 min
Peter Gidal, not far at all, 2013, 15 min
Introduced by Peter Gidal and Mark Webber

From his first period (Clouds, 1969) to his latest film (not far at all), through Flare Out, the 1992 film that gives the recent book from The Visible Press its title, Gidal frames empty skies and a volcano to question, by the means of film, what the viewer believes he sees and “[to pose] the basic questions of aesthetics, what it is to view, how to view the unknown as to view the known is not possibly a viewing.”

Olivier Dekegel

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