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robertogreco : aaronstewart-ahn   5

Aaron Stewart-Ahn on Twitter: "Our media literacy about movies tends to prioritize text over subtext, emotion, and sound vision & time, and it has sadly sunk into audience… https://t.co/pdGb93PJqL"
"Our media literacy about movies tends to prioritize text over subtext, emotion, and sound vision & time, and it has sadly sunk into audiences' minds. I'd say some movies are even worth a handful of shots / sounds they build up to."

[in response to (the starred part of this thread):
https://twitter.com/RealGDT/status/933796336683515904
https://twitter.com/RealGDT/status/933797652914872321
https://twitter.com/RealGDT/status/933798079618105345
https://twitter.com/RealGDT/status/933798628635709440
https://twitter.com/RealGDT/status/933800708960174080 [****]
https://twitter.com/RealGDT/status/933801838733701121
https://twitter.com/RealGDT/status/933802333053501440
https://twitter.com/RealGDT/status/933808111663513600

"13 Tweets on why I am interviewing Michael Mann and George Miller (2 weeks each) about their films this Sabbatical year.

I sometimes feel that great films are made / shown at a pace that does not allow them to "land" in their proper weight or formal / artisitic importance...
18 replies 172 retweets 763 likes

As a result, often, these films get discussed in "all aspects" at once. But mostly, plot and character- anecdote and flow, become the point of discussion. Formal appreciation and technique become secondary and the specifics of narrative technique only passingly address

(adressed, I mean).

I want to do it because I want to know. I want to read their words, their reasons and I want to review their films as I would revisit a painting or a dance piece or a music number- I want to discuss lens choices and the vital difference between a dolly, techno crane or mini jib.

I would love to commemorate their technical choices and their audiovisual tools. I would love to dissect the narrative importance and impact of color, light, movement, wardrobe and set design. As Mann once put it: "Everything tells you something"

[****] I think we owe it to these (and a handful of filmmakers) to have their formal choices commemorated, the way one can appreciatethe voigour and thickness and precision of a brushtroke when you stand in front of an original painting.

A travelling shot IS a moral choice- but also a narrative one, that goes beyond style when applied by a master. I remember that epic moment in which Max steps out of the interceptor in Mad Max and removes his sunglasses- the wide lens pushes in and jibs up- underlining emotion

Uh- it's not quite 13 tweets yet but you catch my drift- and I have brussel sprouts in the frying pan- gotta go. But, there- that's the idea behind those 4 weeks of visit to two masters. Hugs to all.

I had my caramelized brussel sprouts. Nice.

Anyway, my hope is that we can dissect the importance of audiovisual tools delivering/reinforcing theme and character in a film. If these interviews / dialogues are useful I would keep having them. Filmmakers to filmmaker."]

[My response:

https://twitter.com/rogre/status/933806291461423105
"Our education system prioritizes text. Deviation from text is discouraged."

https://twitter.com/rogre/status/933808601608552448
"“To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity.” http://some-velvet-morning.tumblr.com/post/166694371846/shinjimoon-nothing-could-be-more-normative [from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other]

https://twitter.com/rogre/status/933808729937526784
"Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order."]
medialiteracy  aaronstewart-ahn  2017  guillermodeltoro  michaelmann  georgemiller  multiliteracies  text  film  filmmaking  plit  character  necdote  flow  dance  color  light  movement  wardrobe  trinhminh-ha  audiovisual  emotion  madmax  technique  canon 
november 2017 by robertogreco
Time is Part of the Work: An Interview with Agnes Varda — Bright Wall/Dark Room
"For a while she sold DVDs of her movies to visitors from around the world through the window, living out a daydream, she says, of being a shopkeeper."



"I like to reconciliate black and white and color, the past and the present, the digital and the authentic. It’s like trying to make everything simple for me. It’s not ‘that time’ or ‘this time’. It’s mixing time and technique.”"



"This is a recurring idea in her work, that beyond the representational space of a film frame, an edit, a single image, a gallery space, there is an outside world only implied or imagined or rendered as unknown history."



"All images are questions. if you look at everything, a painting, an image, you can question… The way you look at it, what it brings to your mind, if it reminds you of something. My god. It does something. You could get that from one image, and there are so many. So you have to choose.

A snapshot is a real mystery. Because you do them in the street somewhere and really each time when I look at them I say who are they? From where are they coming? Why are they together? Maybe they hate each other, maybe they love each other. It’s even - in a magazine when they show all these things about war, about peace, about people in the streets, even you see them in demonstrations, I am always questioning: who are they?"



[Q: "A lot of the art you’re making asks the viewer’s imagination to be a participant…"]

"Well I ask people to participate, because an image you know… If you close the light, and you all go out, an image is nothing. It’s nothing. If nobody looks at an image it’s a dead piece of paper.

One viewer is enough. Somebody looks at the image, one viewer is enough. Two or three is fine. A thousand is, you know, in a film if you run the film in an empty theater, it’s nothing. But one spectator is enough."



[Q: "So what about our modern culture of photographs and videos? Last night at your art opening everyone was taking photos constantly of everything."]

"Well that’s interesting, cause you know when I was young it meant something to have a camera. It changed so much that now not only people start to have cheap cameras, but they all have smartphones and people do photos all the time. And it’s interesting because most, when they do selfies, they want to prove to themselves they were there.

It’s interesting because it’s saying “I need proof in my life”. When I am traveling, or I meet someone, people say “can I take a picture with you” like this [she mimes standing next to her and making a selfie]. And it has been studied by sociologists and historians because it’s something very new in civilization, that not only images are everywhere and easy to make, but we want to have memories of ourselves. So people do that.

When at the time, when I was young, people would bring a child to a photographer. And the child would be on a shiny pedestal, and the baby lying on its belly, or sitting, very posed, and it was an act, you know?

I even made a short film about it called Ydessa. And at the time, in Germany, before the war, they would always take a teddy bear with them and go into the studio with the teddy bear. The child or the couple would pose. It was like an art that would last for their whole life, they would have a photo. But the questions in this film are everywhere eight years later.

It’s very democratic in a way but still, some people now think of photos differently. And a lot of people are on Instagram and they put a lot of images, beautiful images, private images. They're beautiful. I look at a lot of Instagram pictures of people I don’t know. And I say, “Oooh he went there and did that, or she did this?” A woman that I knew, but I lost for years, and suddenly there are images of Mexico - she must have been traveling there. She’s in Mexico! Oh! And then she is back.

So it’s like in a way it becomes transparent. Like you leave information about yourself. Like all this Twitter and Facebook. Do you use them?"



"Sometimes I think in a selfish way, you know, we cannot grab all the misery and carry it in our bags.

Sometimes I feel we have to do what I feel I have to do as an artist. To do things. Maybe sharing with people. Sharing emotion, sharing information. But, I am just, too… I cannot change the world. I can only change some relation between some people in the cinema. It’s a very modest work. Touching very few people. I mean it’s, we have no possibility to do much more than the very modest work of artists. That’s the way I feel."



"I like to make films about people who aren’t spoken about.

What I think is because I know… The way you are involved in what’s happening in the world is relative. Because I cannot make a change about the desires of millions of people that want to move.

I’ve been hurt, in the heart, just by watching these images when they are on a boat and they die in the ocean and sometimes they are saved. But we cannot save them. We cannot go and take another boat and save three people and give them food and bring them home.

So we are assisting as a terrible spectacle all the hunger and migration in the world.

So I say, as artists, you can only do what we know how to do, which includes friendship, sharing, transmission."



"I have a formula: I switched from old filmmaker to young visual artist. Because people want definition. You are this or that. And I like to feel that I’m everything. I’ve had three lives: as a photographer, a filmmaker, and as a visual artist.

I am in time. I’m old. I’ve been crossing time for years. I love the idea that even with a bad memory I can pick something which is years ago or someone I met years ago and I am here, and I enjoy it."



[Q: "I ask her one final question: In all your work as a photographer, as a filmmaker, as an artist, what have you come to discover is the difference between media and memory?"]

"I don’t know, because you can see in your own life and use your memory to remember what you have. That’s not my point. My point is to get a piece of the past and bring it into my life of today.

So I don’t have the feeling that I wish to tell you my memories. I’ve done that in some of my films. What I do now, is always: make it alive now. I’ve been loving the seaside since I’m young. And it’s set where I did my first film, La Pointe Courte. By bringing the sea into a new medium, into the art world, it makes it alive. It’s not my past. I don’t care so much. I’ve been through a lot of things in my life. What I love is to make the now and here very important. That’s how I stand life.

It’s sharing what I do with people. My work is to propose, to propose the notion, to propose surprises, my view. That’s life. That’s what we call… The artist."
agnèsvarda  2017  aaronstewart-ahn  interviews  time  memory  memories  film  filmmaking  photography  audiencesofone  instagram  twitter  facebook  socialmedia  digital 
april 2017 by robertogreco
Aaron Stewart-Ahn Talks His 25-Year Relationship with Wim Wenders’ Until the End of the World | The Talkhouse Film
"It’s the kind of filmmaking endeavor one only tries when one has made two back-to-back masterpieces such as Paris, Texas and Wings of Desire and one has just enough leverage to even try realizing a film that’s unprecedented, batshit crazy and in love of its pursuit of the epic as much as the possibilities of cinema.

But, for me, that grand vision wasn’t fulfilled in the movie I saw. Something was missing, clumsy, off-key. My love for the movie was qualified, something I kept private. I was certain there was more there, but the Internet that existed then couldn’t fulfill my curiosity about a narrative larger than the film itself, about how it came into being and what happened along the way. This other movie became a dream, something to pursue, a key to a door I couldn’t open. And sometimes I wonder if this isn’t responsible for the profound, unceasing love I had for something so imperfect.

As an example of how information about films used to move: it wasn’t until the next millennium that I discovered there was a director’s cut of Until the End of the World. At some point, I was given an Italian DVD of the director’s cut, this version of the film I’d always dreamed about, but could not bring myself to watch it. It didn’t seem fair to the movie’s spirit to do it that way. I had to hold out, wait for the day to see it projected in a movie theater, turn it into some sort of pilgrimage. For more than half of my life, I lived with this movie only in my head, with no copy, no way of watching it. Only as I write this do I realize how strongly it affected me. It was something more than a movie: a séance, vision, prophecy, a call of longing that, I can admit, changed my life. And somehow decades went by with that faint hope, but no opportunity to see it in a theater.

Twenty-four years later I have finally seen the director’s cut of Until the End of the World. I’m now certain it’s a kind of a masterpiece. It has redrawn this map I have of life running parallel with movies. I can see how we got from film prints to live-streaming cellphones. At five hours in length, it is overwhelmingly audacious to the point of leaving you with an exasperated, exhausted grin. Nothing else has ever been made like it, and cinema is now old enough that nothing will ever be made like it again. The whole world is inside it, a broken ladder leading to who we are today."



"It’s a funny thing to admit that a film can change your life, maybe because more of them ought to and that’s what we’re truly fearful of admitting. A few days ago, on a different sleepless night, here in the future, I watched Alejandro Jodorowsky on a digital video direct from a hotel room in Santiago, Chile pleading that, at 86 years old, he was doing everything he could to fight against the death of auteur cinema, despite the pain in his bones, and how movies ought to change someone’s life. It’s a terrifying thought, one that leaves me ashamed, because I don’t think I’m brave enough to believe that filmmaking can do that, and most of these days I am convinced auteurism is dead, that this film was one of the last great auteurist movies.

But a few years after watching Until the End of the World, trapped in a small U.S. town next to a military base, working as a teenage dishwasher in a Chinese restaurant with no college prospects, I read an interview with Wim Wenders in which his advice to the young people of America was to get a passport. A few months later, I left the U.S. and didn’t return for eight years.

I admit now that a music video I directed in 2008 was essentially my attempt to reverse engineer or shamelessly rip off Until the End of the World. Our small film crew traveled circled the globe in two weeks. I had to comprehend in my own small way if filmmaking was that limitless.

I know these things are directly related, and I don’t want to admit it. But yeah, a movie can change your life, and I left that small town, went everywhere, my world opened up, and I met people all over the world, heard their stories, even once saw kangaroos outside an abandoned video store in Western Australia, and I’m so goddamn grateful for it."
aaronstewart-ahn  2015  film  wimwenders  untiltheendioftheworld  1999  digital  solveigdommartin  sciencefiction  scifi  filmmaking  1991  auteurism  auteurtheory 
august 2015 by robertogreco
How Adam Curtis' film "Bitter Lake" will change everything you believe about news - Boing Boing
"The acclaimed British documentary filmmaker has released his latest film in unusual, forward-thinking circumstances."



"A new type of understanding emerges as a result of the form itself, an emotional, existential sensation of being present in the effects of the West's foreign affairs. There are also jokes, and audacious music choices, history underscored by Nine Inch Nails, Kanye West, Burial, and droning synth film scores by Clint Mansell. The implications are astonishing, the effect verges on the surreal: vivid, banal, beautiful, and constantly giving rise to elusive new connections in your mind between sound and image. Although any history book can give you some of the same information that’s not the point. What I came away with watching the film was a haunted sensation, a novelistic reality, one in which I couldn’t forget its images, in which suddenly I saw an aspect to war that is often obscured in news; an emotional dimension.

We do little examination of the filmmaking techniques and formalism that constitutes television news, one of the dominant global experiences for nearly a century. Media examination of how news is made tends to focus on institutions and individuals, as the Brian Williams and Bill O'Reilly scandals demonstrate. The focus of analysis is personality, celebrity, and memory; which isn’t all that different from a network anchor’s stated role.


But this means we never engage in discourse about the expectations of the aesthetics and form taken of how we watch news. The editing techniques embraced by news corporations are themselves a kind of power structure that prioritizes inattention. We prioritize the celebrity of Williams or O'Reilly instead of the collective failures of corporate news media, whose compliance with lies planted by the Bush administration contributed to our involvement in Iraq.

While it’s common knowledge that television news prioritizes soundbites, this same editorial process also reduces footage into optical bites. An image must be watched at length to be understood, but the very form of TV news requires it's cut down to its most reductive. As a result, the montage that dominates the cliched, internationally adopted television news format maximalizes the most shocking images of conflict and drama. It’s the geopolitical equivalent of reality tv producers getting their performers drunk and letting the cameras roll, more Real World: Road Rules than The March of Time.

What ends up on the cutting room floor (or at least deleted from the digital bin) is understanding and narrative. Explaining in this great interview, Curtis offers the idea that “…television is really one long construction of a giant story out of fragments of recorded reality from all over the world that is constantly added to every day.”"



"Curtis’ work is often criticized on the basis of how reductive his history is or how he’s retreading conspiracy theories. As can be seen in the interactions on his exceptional blog, conspiracy theorists comprise a segment of his viewership, but tend to be infatuated with correcting his histories and informing him of what he left out.

But conspiracies do not govern his theses. If anything Curtis’ work is about how unreckoned our relationship with power is. It’s an overarching history of the 20th century giving birth to new systems to disseminate and control power. Since we have no working narrative or politics to concede with power, unintended consequences prevail. The stories of his films are almost always a history of how those in power create plans to change the world, and those plans go completely awry."



"Curtis’ work may not be infallible, but it often asks why we have become stagnant and regressive, why we are running out of visions for the future. At the very least, his films have provided a new vision: of how we still have work to do in the form of filmmaking that will help us understand our world. I hope BITTER LAKE most of all raises questions of how news organizations appropriate the imagery that is shot, often at great cost to the lives of journalists, in a way that has narrowed the possible dimensionality of its truth. Even more troublesome, the exploitation of footage created by terrorists has resulted in a horrifying feedback loop where corporate news entities earn profits off of their existence.

In the far future, the real impact of BITTER LAKE will most likely be the filmmakers inspired by it. They may not need to wait for a collection of discarded videotapes, for lurking out there on the Internet is a nearly infinite archive of footage. Over 100,000 hours are uploaded to YouTube each day. It is just out there waiting for artists, journalists and storytellers to help us make sense of it all."
aaronstewart-ahn  adamcurtis  media  film  documentary  culture  aesthetics  news  emotions  afghanistan  iraq  war  filmmaking  brianwilliams  billo'reilly  power  editing  celebrity  soundbites  understanding  narrative  archives  youtube  journalism  storytelling  bbc  bitterlake 
march 2015 by robertogreco
Gibson: Dreaming in Social Media · tealtan · Storify
An online dinner party (or nightcap) conversation in the wake of a "William Gibson gave a talk tonight at the Union Square B&N;, and threw out a provocative thought." Compiled by Allen Tan.
oversharing  intimacy  surrealism  dreamspace  networks  sharedconsciousness  unconsciousness  sharing  reading  blurredrealms  sleeping  waking  joy  sarcasm  snark  humor  telepresence  presence  future  fiction  onlinedinnerparty  humanity  andrewfamiglietti  sciencefiction  scifi  socialmedia  web  net  dreams  ideasmuggling  ideas  books  nyc  maxfenton  danielreetz  erinkissane  comments  aaronstewart-ahn  timcarmody  twitter  storify  conversation  2012  allentan  williamgibson 
january 2012 by robertogreco

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