Gallery
Susanne Boswell and Gregg Shumann in The Subversion Agency
Miles Sherwood and sound recordist Synne Bull during radio broadcast scene in The Subversion Agency
Mark Boswell is the founder and leading theorist of the NOVA-KINO experimental cinema movement. [1]
Born 1960 in Asheville, North Carolina, Boswell studied film, film theory, and art history in Switzerland, France, Germany and the Florida Space Coast from 1984–1992. He co-founded the Alliance Film/Video Cooperative in 1993 (with William Keddell) and the Anti Film Festival in 1994. Some of his most widely screened films are Unknown Unknown(s) (2009), [2] USSA: Secret Manual of the Soviet Politburger (2001), [3] Agent Orange, [4] the feature film The Subversion Agency (2004) [5] and the documentary 60 Seconds of Solitude in Year Zero . [6]
For many years Boswell has taught at the San Francisco Art Institute, The Ringling College of Art and Design, Florida, and the Pratt Institute in New York. [7] He was awarded the 2004 International Media Art Award from The ZKM Museum in Karlsruhe Germany for his film The End of Copenhagen. [8] KultKino, Boswell's five minute 1997 experimental short film, was included in the 1999 Venice Biennale. He has also lectured internationally on agit-prop cinema at the UCLA Hammer Museum in Los Angeles, [9] the Wolfsonian/FIU Museum Of Propaganda in Miami Beach, the Magis Film Conference in Italy, [10] and the Ruskin School of Art at Oxford University, England. [11] During the mid-nineties he edited numerous projects for Doris Wishman during the last phase of her career in Miami Beach. [12]
Boswell’s work is sometimes noted for its elliptical montage structure featuring a wild concoction of appropriated film materials coupled with his own production footage. Another aspect of this process is his usage of subtitles over original scenes from iconic films that leads toward an entirely different storyline.
During the 2009 Cambridge Film Festival in England the British film critic Laura J Smith wrote: He refers to his work as “Nova-Kino” a pertinent cinematic theory for filmmakers and media artists alike who, as Boswell describes, “utilise found footage as source material to be re-edited or re-animated, giving radical rebirth or second life in their reconstructed state.” A vital element of Nova-Kino is “the usage of critical, political, and other highly charged points of view embedded within the structure of the work that challenge hegemonic power structures at large or in more specific realms.” By no accident, these aesthetics are undeniably similar to those of Agit-Prop cinema, which Boswell labels “the eternal bi-product of the Russian Revolution.” [13]
In Helsinki 2003 during the Avanto Festival, for the European premiere of his first feature film The Subversion Agency [14] – the Finnish film critic Manu Haapalainen wrote: The black and white film feels and looks like a version of Francis Ford Coppola's "The Conversation", set in Cuba, directed by Jean-Luc Godard and scripted by William Burroughs. The film's intricate and non-linear plot has to do with the adventures of an American arms dealer in a perplexing country called K-Zone. K-Zone is like a cross between Cuba and a kind of socialist America imaginable only in an alternative reality. "The Subversion Agency is an extremely stylish work on the level of both image and sound. The aged, grainy archival material has been allowed to dictate the visual look of the whole film. The soundtrack of The Subversion Agency" is chock full of something resembling electronic music, hissing sounds, beeps and interferences. The film's narrative is repeatedly interrupted by auditive and visual discontinuities and disturbances. The experience is voyeuristic and somewhat enigmatic.
Nova-Kino is an experimental cinematic movement with departure points from the Russian twenties, film noir, situationism, the classical avant-garde, and post-modern appropriationist theory. The movement is blatantly left with variations of classical anarchism, situationism and Marxist paranoia of unrestrained capitalism. Nova-Kino is a technologically advanced medium that incorporates digital, celluloid, analog, and pseudo-redundant motion picture technologies that en somme, actualize the free market mantra of "the democratization of technology." Nova-Kino's fire-brand critique of Capitalism, Americanism, and Technotopia will make its acceptance into the traditional venues of exhibition, distribution, and production DIFFICULT - but not impossible. Nova-Kino is an investigation into the political structure of the past, present, and future. It does not operate under any sequential formula. Therefore, it is a Buddhist attack on the narrative structure of History. However, unlike the old guard/avant-garde, Nova-Kino wholeheartedly embraces the telling of "stories." Nova-Kino is therefore the simultaneous raconteur of the past and prophet of the present. Nova-Kino does not recognize the traditional property rights of the West. More specifically, the further Hollywood advances its tautological consumerism on Society, the further WE attack! Nova-Kino is like an Indian Casino; paradoxical, autonomous, and ultimately wise...
Dziga Vertov was a Soviet pioneer documentary film and newsreel director, as well as a cinema theorist. His filming practices and theories influenced the cinéma vérité style of documentary movie-making and the Dziga Vertov Group, a radical film-making cooperative which was active from 1968 to 1972. He was a member of the Kinoks collective, with Elizaveta Svilova and Mikhail Kaufman.
Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works either streamed online, or distributed as video tapes, or on DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.
Man with a Movie Camera is an experimental 1929 Soviet silent documentary film, directed by Dziga Vertov, filmed by his brother Mikhail Kaufman, and edited by Vertov's wife Yelizaveta Svilova. Kaufman also appears as the eponymous Man of the film.
Peter Weibel was an Austrian post-conceptual artist, curator, and new media theoretician. He started out in 1964 as a visual poet, then later moved from the page to the screen within the sense of post-structuralist methodology. His work includes virtual reality and other digital art forms. From 1999 he was the director of the ZKM Center for Art and Media Karlsruhe.
Doris Wishman was an American film director, screenwriter, and producer. She is credited with having directed and produced at least 30 feature films during a career spanning over four decades, most notably in the sexploitation film genre.
Vanalyne Green is an American artist who also teaches and writes about culture. She has screened her video work extensively in the United States and abroad, including The Whitney Biennial (1991), American Film Institute, Rotterdam International Film Festival, the Videotheque de Paris, The Robert Flaherty Film Seminar, The Guggenheim Museum and many other museums, universities and film festivals. She has received a Guggenheim Foundation fellowship, as well as grants from Creative Capital, the Jerome Foundation, the Richard H. Driehaus Foundation (2003), the National Endowment for the Arts, the New York State Council of the Arts, and a Rome Prize at the American Academy in Rome (2001–2002). Her work has been covered in the Village Voice, the Los Angeles Weekly, The Chicago Reader, and Artforum. Publications by and about, and interviews with, Green also can be found in "Performance Artists Talking in the Eighties" by Linda M. Montano, "Women of Vision" by Alexandra Juhasz, in addition to M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism. Green's videotape "A Spy in the House that Ruth Built" was listed as one of the 1,000 best films ever made by film critic and author Jonathan Rosenbaum.
Tatsumi Kumashiro was a Japanese film director known for his critically acclaimed, award-winning Roman Porno films, such as Ichijo's Wet Lust (1972) and The Woman with Red Hair (1979). He was the most highly acclaimed director of the early Nikkatsu Roman Porno era, with many box-office successes, and films regularly appearing on the yearly Best Ten lists of the mainstream Kinema Junpo and Eiga Geijutsu film journals. Kumashiro has been called, "the most consistently successful director in Japan's cinematic history," and Allmovie calls him, "arguably the most important Japanese director to emerge during the 1970s."
Edgar Henrique Clemente Pêra is a Portuguese filmmaker. Pêra is also a fine artist and a graphic comics artist. and writes fiction and cinema essays (PhD). Edgar Pêra studied Psychology, but switched to Film at the Portuguese National Conservatory, presently Lisbon Theatre and Film School. Aka Mr. Ego (scripts), Man-Kamera (image), Artur Cyanetto (sound). Edgar Pêra has auto-financed and produced many his own movies, or directed "auteur films" for cultural institutions. " If there has been in Portugal a filmmaker who has continuously filmed, he is Edgar Pêra, as a consequence of his availability and insistence on doing so regardless of the perennial problems of juries and public subsidies. But it is also a consequence of his adaptation to light technologies, he and his camera, constituting symbiotically an "Ego" that is really making its own film-diaries". Pêra started as a screenwriter but in 1985 bought a camera, inspired by Dziga Vertov, and never stopped shooting on a daily basis. "Pêra has a penchant for odd, eccentric, obscure and sometimes twisted humor. His unique touches include an arthouse, avant-garde approach somehow combining retro and avant-garde modernities."
Michael Brynntrup is a German experimental filmmaker and media artist living in Berlin. Besides experimental films and video installations, his better-known works also include electrography, digital art and internet art projects. Since 2006 he has been Professor for Film/Video at the Hochschule für Bildende Künste Braunschweig.
Peggy Ahwesh is an American experimental filmmaker and video artist. She received her B.F.A. at Antioch College. A bricoleur who has created both narrative works and documentaries, some projects are scripted and others incorporate improvised performance. She makes use of sync sound, found footage, digital animation, and Pixelvision video. Her work is primarily an investigation of cultural identity and the role of the subject in various genres. Her interests include genre; women, sexuality and feminism; reenactment; and artists' books. Her works have been shown worldwide, including in San Francisco, New York, Barcelona, London, Toronto, Rotterdam, and Créteil, France. Starting in 1990, she has taught at Bard College as a Professor of Film and Electronic Arts. Her teaching interests include: experimental media, history of the non-fiction film, and women in film.
Soviet parallel cinema is a genre of film and underground cinematic movement that occurred in the Soviet Union in the 1970s onwards. The term parallel cinema was first associated with the samizdat films made out of the official Soviet state system. Films from the parallel movement are considered to be avant-garde, non-conventionalist and cinematographically subversive.
Dennis Del Favero is an Australian artist and academic. He has been awarded numerous Artist-in-Residencies and Fellowships, including an Artist-in-Residence at Neue Galerie Graz and Visiting Professorial Fellowship at ZKM Center for Art and Media, Karlsruhe. He is an Australian Research Council Laureate Fellow, Scientia Professor of Digital Innovation and executive director of the iCinema Centre for Interactive Cinema Research at the University of New South Wales; Visiting professor at IUAV, Venice; Member of the editorial board of Studio Corpi's Quodlibet, Rome; and former executive director of the Australian Research Council | Humanities and Creative Arts (2015–2016).
Jeffrey Shaw is a visual artist known for being a leading figure in new media art. In a prolific career of widely exhibited and critically acclaimed work, he has pioneered the creative use of digital media technologies in the fields of expanded cinema, interactive art, virtual, augmented and mixed reality, immersive visualization environments, navigable cinematic systems and interactive narrative. Shaw was co-designer of Algie the inflatable pig, which was photographed above Battersea Power Station for the 1977 Pink Floyd album, Animals.
Palace Cinemas is an Australian cinema chain that specialises in arthouse and international films.
Marc Lafia is a multidisciplinary artist, filmmaker, photographer, writer, educator, and information architect. He is known for his contributions to the intersection of art, film, and technology. Lafia’s works explore computation and the impact of network culture on media, communication, and the self.
Ben Russell is an American artist and experimental filmmaker. Russell developed his reputation over the numerous shorts he made throughout the 2000s, many as part of his "Trypps" series, and as the curator of the Magic Lantern Cinema in Providence, Rhode Island. In 2009, he made his acclaimed feature debut, Let Each One Go Where He May, shot in Suriname in a series of 13 long takes accomplished with a Steadicam. Both a Guggenheim Fellow and participating artist in documenta 14, Russell's work has been described as drawing on elements of ethnography, psychedelia and Surrealism.
Directors Lounge is an ongoing Berlin-based film and media-art platform with year-round screenings and exhibitions in Berlin and various other cities. Annually parallel to the Berlin Film Festival (February), the central event of the Directors Lounge, the intensified presentation The Berlin International Directors Lounge takes place. Directors Lounge is the brainchild of filmmaker André Werner, artist Joachim Seinfeld and gallerist/curator Longest F. Stein in conjunction with the A&O-gallery and other artists from the Berlin media art scene.
Jayne Parker is a British artist and film-maker.
An agit-train was a locomotive engine with special auxiliary cars outfitted for propaganda purposes by the Bolshevik government of Soviet Russia during the time of the Russian Civil War, War Communism, and the New Economic Policy. Brightly painted and carrying on board a printing press, government complaint office, printed political leaflets and pamphlets, library books, and a mobile movie theater, agit-trains traveled the rails of Russia, Siberia, and Ukraine in an attempt to introduce the values and program of the new revolutionary government to a scattered and isolated peasantry.
The End of Time is a 2017 experimental short film by Milcho Manchevski, a U.S.-Cuban co-production.
{{cite web}}: CS1 maint: archived copy as title (link)| International | |
|---|---|
| National | |
