Jujube/misc: Difference between revisions
No edit summary |
No edit summary |
||
| Line 66: | Line 66: | ||
|- | |- | ||
| Widows (2018) || Steve McQueen || audio as a layer on top of the situation (conversation in the car + shots of car from the outside + transition of one place to another in one shot, radio telling one secondary story over another secondary story), dramatic cuts || 11.18 || kino | | Widows (2018) || Steve McQueen || audio as a layer on top of the situation (conversation in the car + shots of car from the outside + transition of one place to another in one shot, radio telling one secondary story over another secondary story), dramatic cuts || 11.18 || kino | ||
|- | |||
| Touch Me Not (2018) || Adina Pintilie || the aesthetics does not match the content, too stylized and too removed, the silence, hesitation and alternative practices make you think, but not feel; not feeling very well during + after || 12.18 || lv | |||
|} | |} | ||
Revision as of 00:14, 2 December 2018
notes
opportunities
For photobook, group. Contemporary Artists Book Fair in Leeds, UK [1]
opticals
making a camera: terminologies and (--> meditation)
thoughts on pixels
early photographic cameras
psyche
the photographer
relevant
copyright on wiki
artistic research as method
production notes
Ambacht video shoot
Selected Statuses
Amsterdam Art Speech
floater
the form of dwarsliggers
memories in relational database
stories
Making A Judgment On Love | With Giancarlo Esposito [2]
The Moth Radio Hour: Stepchild, Big Brother, Mugshot [3]
What Can You Hear? [4]
watch list
watched
| name (year) | director | one thing noted | month of viewing | place of viewing |
|---|---|---|---|---|
| Crazy Rich Asians (2018) | Jon M. Chu | cried through this comedy (oh the shots of New York skyline) | 08.18 | kino |
| Kanazawa Shutter Girl (2018) | Terauchi Kotaro | "typology" | 09.18 | lv (subscribed to cineville for the Camera Japan Festival) |
| Mori, the Artist’s Habitat (2018) | Okita Shuichi | the audience chuckled, why... | 09.18 | lv |
| Bodysong (2004) | Simon Pummell | witnessed(?) a dozen births at 10 o'clock in the morning | 10.18 | class |
| The Propaganda Game (2015) | Álvaro Longoria | the shooting conditions were transparent | 10.18 | netflix |
| Side by Side (2012) | Christopher Kenneally | history of technology | 10.18 | class |
| Leaning into the Wind (2018) | Thomas Riedelsheimer | the audience laughed whenever there was a contemplative silence (esp. when Goldsworthy climbed through the branches). was silence unbearable for them? | 10.18 | lv |
| Fantastic Beasts: The Crimes of Grindelwald (2018) | David Yates | lost in the plot, highly stylized, tears over two scenes (Dumbledore & Leta, the fight between Grindelwald and the good people) | 11.18 | cinerama |
| The Children Act (2018) | Richard Eyre | tears over the scene when Our Lady cried about the boy, the only instance of her vulnerability and the re-uniting moment of her marriage | 11.18 | lv |
| The Wife (2017) | Björn Lunge | classic dramaturgy, interwoven conflict(s), compact dialogue | 11.18 | cinerama |
| Widows (2018) | Steve McQueen | audio as a layer on top of the situation (conversation in the car + shots of car from the outside + transition of one place to another in one shot, radio telling one secondary story over another secondary story), dramatic cuts | 11.18 | kino |
| Touch Me Not (2018) | Adina Pintilie | the aesthetics does not match the content, too stylized and too removed, the silence, hesitation and alternative practices make you think, but not feel; not feeling very well during + after | 12.18 | lv |
To watch
Paris, Texas (1984)
A Strange Love Affair with Ego (2015) Ester Gould