I just saw Sleeper, and it reminded me of how beautiful Diane Keaton is. Her smile and her laugh, and even though she makes mostly silly movies now, I think she’s maturing gracefully.
Also, I would definitely switch teams for Penelope Cruz.
Perhaps she doesn’t quite fit here because her films are mostly viewed in museum-spaces rather than in theatres, but I love the work of Shirin Neshat. I think her installation video and film pieces are incredibly lyrical and the ways she explores topics like gender, language, ethnicity, politics, religion and culture are really inventive. Something her work is very akin to Maya Deren’s.
I agree that a lot of the plot elements of Metropolis haven’t aged that well. But I don’t think that it can be taken lightly that a film made in 1927 is still such a huge influence on how all films that followed it envision cities of the future. Also I think the archetype of Maria and Robot-Maria partially inspired Sean Young and Daryl Hannah’s characters in Blade Runner as well as Ripley in the Alien franchise and countless other heroes, heroines and villains in action films set in the future. Many of them also include the same story-line that can be seen in Metropolis of the hero/heroine battling against a major institution (though now they’re usually fighting against corporations and not class systems, because that better fits the ethos of our time period). Metropolis is not that exciting to us because we know all the films that followed it, that were inspired by it, and a part of me wishes I could understand what it was like to see it 82 years ago. But all that being said, I agree with Rory. M is my favorite Fritz Lang movie as well.
Strawdawg, I agree that this thread proves that the world of film is an incredibly sexist one. But I also think that the fact that this topic keeps getting brought up in the forums signals that we all want (and I think general audiences want) to hear from more diverse voices, including women. I just hope that this inspires filmmakers on The Auteurs to get to work (check out Garage)!
My new favorite poet is Frank Stanford. His poem The Snake Doctors is incredible and frightening, but too long to put here (however, a link: http://www.poetryfoundation.org/archive/poem.html?id=180479). Here’s another shorter one by him:
Instead
Death is a good word.
It often returns
When it is very
Dark outside and hot,
Like a fisherman
Over the limit,
Without pain, sex,
Or melancholy.
Young as I am, I
Hold light for this boat.
When the rest of you
Were being children
I became a monk
To my own listing
Imagination.
Nights and days floated
Over the whorehouse
Like webs on the lake,
A monastery
Full of noise and girls.
The moon throws the knives.
The poets echo goodbye,
Towing silence too.
Near my house was an
Island, where a horse
Lathered up alone.
Oh, Abednego
He was called, dusky,
Cruel as a poem
To a black gypsy.
Sadness and whiskey
Cost more than friends.
I visit prisons,
Orphanages, joints,
Hoping I’ll see them
Again. Willows, ice,
Minnows, no money.
You’ll have to say it
Soon, you know. To your
Wife, your child, yourself.
And I’m sure you all know it, but I think this is one of the sexiest poems ever:
Lucía Martínez.
Umbría de seda roja.
Tus muslos como la tarde
van de la luz a la sombra.
Los azabaches recónditos
oscurecen tus magnolias.
Aquí estoy, Lucía Martínez.
Vengo a consumir tu boca
y a arrastrarle del cabello
en madrugada de conchas.
Porque quiero, y porque puedo.
Umbría de seda roja.
Trans.
Lucía Martínez.
Shadowy in red silk.
Your thighs, like the evening,
go from light to shadow.
The hidden veins of jet
darken your magnolias.
Here I am, Lucía Martínez.
I come to devour your mouth
and drag you off by the hair
into the dawn of conches.
Because I want to, because I can.
Shadowy in red silk. -Lorca
“There won’t be true equality between the sexes until women are no longer obligated to make films that advance a feminist cause. We certainly don’t expect male filmmakers to expend all their energy fighting for something, demanding some kind of recognition.”
So true. Which is why, even though her films are hit-or-miss, I find Kathryn Bigelow pretty interesting for working exclusively in the action film genre.
Transes, a really great documentary about the Moroccan group Nass El Ghiwan, will be available on The Auteurs soon: http://www.theauteurs.com/films/2037. I highly recommend it!
I really liked the first short you posted, Fredo! I’m excited to go through everyone’s links and watch all the great work.
Anyone else still prefer 35mm? I’ve shot about 4 rolls of film in the last couple of months that I’ve been sitting on, because I’m having so much trouble finding a good place to develop my film. But for some reason, I can’t let film go…
Here’s a link to my flickr page: http://www.flickr.com/photos/caliali/
Yay, glad to hear of the film love! I think both film and digital are good to know and use, but it does make me sad to have never actually spliced film in film school. I use a Sony V1U for my video work. KJ, thanks for the tip on color slides. I’ve never experimented with that, but will definitely have to toy around with that now!
I love my local video store, Film Yard! It’s just really nice to go into a place that everyone in the neighborhood goes to. Everybody – the local baristas, the bar proprietors, the store owners, the guardian of that little yappy dog you always recognize – stops in to rent movies. And the clerks are all really friendly and knowledgeable. There’s always a conversation about film, people giving recommendations, going on.
I know this is all very idyllic and that not everyone is lucky enough to have a neighborhood like that. And I’m not going to weigh-in on Netflix here, because the truth about it is that it’s sometimes hard to find obscure things at my video store. But I’ll always go there just for the sense of community it brings.
Adaptations of The Crying of Lot 49, 2666 or The Devil in the White City. I’d also be really curious to read your script of The Wind-up Bird Chronicle as well, Deckard.
Hi all. Thanks for your recommendations of Court Yorga, Brides of Dracula, and Interview with the Vampire. They’re added to our queue of film pages to make.
Also, Dimitris, please send me some suggestions of films from Greece, Finland and Brazil that you think we should add to our database. We always consider community suggestions.
As scared as the international economic downturn makes me, I’m also excited about it as far as what people will figure out they can do with limited resources. It’s always been about good ideas, whether you have $1 or a million.
Beginning, December 9th, 2009, The Auteurs + Garage are hosting this on-line, round table discussion between nine expert panelists who will talk about the film Trains of Winnipeg (2004, 35mm, 87 min.) by Canadian director Clive Holden, and the implications of its recent inclusion in The Auteurs. What does this mean for avant garde cinema (also known as “experimental” or “non-linear” filmmaking)? Will web-based distribution open up the treasure chest of artist-made, non-dramatic narrative, filmmaking from throughout the last century, finally making it available for all to see? What’s the future for The Auteurs in terms of additions to its film library, or its format choices and other plans? And about the film itself, where does Trains of Winnipeg fit in, in the history or cinema? Is there such a thing as 21st century filmmaking?
After one week (on Wednesday morning, December 16), the discussion will be opened up to “questions from the floor.” In other words, to all The Auteurs members who can then contribute as they like, including asking questions of the panelists or the filmmaker.
Round Table Discussion Participants: Chris Gehman (filmmaker, writer, former Toronto International Film Festival “Wavelengths” programmer, and former Artistic Director of Images Festival, i.e. the first Trains of Winnipeg programmer); Brenda Longfellow (filmmaker, writer, film theorist, and Associate Professor in the Department of Film at York University); Dave Barber (Winnipeg Film Group’s Cinematheque programmer for over 25 years); Michael Sicinski (Houston-based teacher and writer in Cinema Scope Magazine, indiewire.com, Cineaste Magazine, and Cargo Magazine); Jason Anderson (novelist and film critic in Eye Weekly, artforum.com, Globe & Mail, Village Voice, and Cinema Scope Magazine); Alex Rogalski (Toronto International Film Festival programmer, and founder of the Take One Super 8 traveling film project); Tobias Morgan (Paris-based film director, and producer of The Auteurs’ Garage project engine); Alley Pezanoski-Browne (San Francisco-based film producer, and Producer for The Auteurs & The Auteurs’ Scratchpad on-line magazine); and Clive Holden (filmmaker and artist).
Q: what does it mean that people from around the world who’ve never seen a film like Trains of Winnipeg before, can now see it so easily, AND talk about it along with all the other films in The Auteurs’ offerings in an international community of film lovers––stretching their very idea of what a “film” is––could this change the history of cinema?
Wow. It’s been such a pleasure reading through what you all have to say that I haven’t been sure when or how to jump in! Thank you all.
I guess to start I should place myself. I would say I’m an elder of the Internet generation, just right on the line, meaning much that is happening online feels like second nature to me, yet I don’t use it with the complete ease of those in their teens and early-20s. And I am a rare “whippersnapper” who is still in love with celluloid and viewing films in a dark cinema with other people.
I think the points brought up by Brenda referring to how young people watch films today are really interesting. I’ve heard from film professors that their students are now watching entire feature films in segments on YouTube, a sort of Cliff’s Notes of the most “important” scenes. Thinking of the ways in which people watch online, I would agree with Chris that the segmentation of ToW makes it uniquely suited for this form of distribution (and we at The Auteurs are extremely lucky to have ToW and Clive). But it is also complex and lyrical. In this way, could it be a “bridging” piece for those new to experimental or non-commercial films? I hope that it will be for some in The Auteurs community.
I would agree with Chris that there are some films that are meant to be seen on a cinema screen and in a very particular setting. But that, as Alex and others have mentioned, online distribution is an exciting way for people to watch films they wouldn’t see otherwise. I remember watching a film print of Gunvor Nelson’s “My Name is Oona” and falling in love with it. Even though I know she would be horrified to know that you can find the film online, I was excited to happen upon it again and shared it with others in The Auteurs community who had never seen it before. Is it better for people to be exposed to this film, even out of its ideal context? I’m not sure… But I think there will always be people who want to see a film the way the filmmaker originally intended it to be seen, regardless of the viewer’s age.
It’s funny that both of you bring up VHS, Clive and Alex. VHS has become somewhat of a collector’s item in certain circles, found in the same context as the LP. I suspect that this is the case because in the transition from VHS to DVD, many important titles were lost. I think this is the real danger in advancing technologies. It would be devastating to lose a film completely, which is maybe why the drive to make all films available online, or at least digitally archived, is actually more important.
And as for the film, ToW.
Watching the film was a personal experience for me, as it was for others in this discussion. The first thing it made me think of was jumping train cars as a teenager in the Midwest of the U.S., not riding very far, because there was nowhere for me and my friends to really go. The trains signaled a possibility of the larger world for us, which is also what films do for so many people.
A quick comment/question (I want to write more about ToW when I get the chance…):
I wonder what will happen when it is easier to connect your computer to a larger screen in your home, like when Mac Minis become more affordable. Will more people start watching longer format films via the Internet? Will Internet media lose the “intimate” feel Tobias first brought up if seen on a larger screen?
Re: what’s in store for The Auteurs regarding streaming/screen size? I can’t give too many hints, Clive. But I can say that using The Auteurs with a Mac Mini or by connecting your computer to your TV screen are really the best ways to watch our streaming content. Of course, there are increasingly more ways to do this, and improving the home viewing/streaming of our films is one of the major things The Auteurs is focusing on in 2010.
And thanks for telling us more about “U Suite”! I’m excited to explore usuite.org some more.
Favourite Movie About Music. about 3 years ago
How about Meeting People Is Easy and how it captures the isolation and burn-out of touring?
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WHO IS / WAS THE MOST BEAUTIFUL FILM ACTRESS EVER? about 3 years ago
I just saw Sleeper, and it reminded me of how beautiful Diane Keaton is. Her smile and her laugh, and even though she makes mostly silly movies now, I think she’s maturing gracefully.
Also, I would definitely switch teams for Penelope Cruz.
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FEMALE DIRECTORS about 3 years ago
Perhaps she doesn’t quite fit here because her films are mostly viewed in museum-spaces rather than in theatres, but I love the work of Shirin Neshat. I think her installation video and film pieces are incredibly lyrical and the ways she explores topics like gender, language, ethnicity, politics, religion and culture are really inventive. Something her work is very akin to Maya Deren’s.
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Metropolis - Great or Average? about 3 years ago
I agree that a lot of the plot elements of Metropolis haven’t aged that well. But I don’t think that it can be taken lightly that a film made in 1927 is still such a huge influence on how all films that followed it envision cities of the future. Also I think the archetype of Maria and Robot-Maria partially inspired Sean Young and Daryl Hannah’s characters in Blade Runner as well as Ripley in the Alien franchise and countless other heroes, heroines and villains in action films set in the future. Many of them also include the same story-line that can be seen in Metropolis of the hero/heroine battling against a major institution (though now they’re usually fighting against corporations and not class systems, because that better fits the ethos of our time period). Metropolis is not that exciting to us because we know all the films that followed it, that were inspired by it, and a part of me wishes I could understand what it was like to see it 82 years ago. But all that being said, I agree with Rory. M is my favorite Fritz Lang movie as well.
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FEMALE DIRECTORS about 3 years ago
Strawdawg, I agree that this thread proves that the world of film is an incredibly sexist one. But I also think that the fact that this topic keeps getting brought up in the forums signals that we all want (and I think general audiences want) to hear from more diverse voices, including women. I just hope that this inspires filmmakers on The Auteurs to get to work (check out Garage)!
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Our Favourite Poems- for a site anthology about 3 years ago
I love this thread!
My new favorite poet is Frank Stanford. His poem The Snake Doctors is incredible and frightening, but too long to put here (however, a link: http://www.poetryfoundation.org/archive/poem.html?id=180479). Here’s another shorter one by him:
Instead
Death is a good word.
It often returns
When it is very
Dark outside and hot,
Like a fisherman
Over the limit,
Without pain, sex,
Or melancholy.
Young as I am, I
Hold light for this boat.
When the rest of you
Were being children
I became a monk
To my own listing
Imagination.
Nights and days floated
Over the whorehouse
Like webs on the lake,
A monastery
Full of noise and girls.
The moon throws the knives.
The poets echo goodbye,
Towing silence too.
Near my house was an
Island, where a horse
Lathered up alone.
Oh, Abednego
He was called, dusky,
Cruel as a poem
To a black gypsy.
Sadness and whiskey
Cost more than friends.
I visit prisons,
Orphanages, joints,
Hoping I’ll see them
Again. Willows, ice,
Minnows, no money.
You’ll have to say it
Soon, you know. To your
Wife, your child, yourself.
And I’m sure you all know it, but I think this is one of the sexiest poems ever:
Lucía Martínez.
Umbría de seda roja.
Tus muslos como la tarde
van de la luz a la sombra.
Los azabaches recónditos
oscurecen tus magnolias.
Aquí estoy, Lucía Martínez.
Vengo a consumir tu boca
y a arrastrarle del cabello
en madrugada de conchas.
Porque quiero, y porque puedo.
Umbría de seda roja.
Trans.
Lucía Martínez.
Shadowy in red silk.
Your thighs, like the evening,
go from light to shadow.
The hidden veins of jet
darken your magnolias.
Here I am, Lucía Martínez.
I come to devour your mouth
and drag you off by the hair
into the dawn of conches.
Because I want to, because I can.
Shadowy in red silk. -Lorca
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ARE THERE STRONG & REALISTIC FEMALE CHARACTERS OUT THERE AND WHAT ARE FEMALE FILMMAKERS DOING TO ADVANCE THE FEMINIST CAUSE? about 3 years ago
“There won’t be true equality between the sexes until women are no longer obligated to make films that advance a feminist cause. We certainly don’t expect male filmmakers to expend all their energy fighting for something, demanding some kind of recognition.”
So true. Which is why, even though her films are hit-or-miss, I find Kathryn Bigelow pretty interesting for working exclusively in the action film genre.
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Favourite Movie About Music. about 3 years ago
Transes, a really great documentary about the Moroccan group Nass El Ghiwan, will be available on The Auteurs soon: http://www.theauteurs.com/films/2037. I highly recommend it!
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Any good documentaries out there? about 3 years ago
Lalee’s Kin: The Legacy of Cotton (lesser-known, but co-directed by Albert Maysles) is a really good one.
Also on the doc festival circuit right now is the phenomenal Burma VJ. Cannot recommend that one enough!
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3 Great Actors You'd Definitely Hangout With. about 3 years ago
1. Paul Newman
2. Javier Bardem
3. Anna Karina
Juliette Lewis would be a riot.
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Film quotes you love almost 3 years ago
“This is no dream! This is really happening!” -Rosemary’s Baby
“Wipe that face off your head, bitch.” -Dazed and Confused
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Fincher, The Auteur almost 3 years ago
David Fincher Page
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Your Photography/Filmography almost 3 years ago
I really liked the first short you posted, Fredo! I’m excited to go through everyone’s links and watch all the great work.
Anyone else still prefer 35mm? I’ve shot about 4 rolls of film in the last couple of months that I’ve been sitting on, because I’m having so much trouble finding a good place to develop my film. But for some reason, I can’t let film go…
Here’s a link to my flickr page: http://www.flickr.com/photos/caliali/
Go to Comment
Your Photography/Filmography almost 3 years ago
Yay, glad to hear of the film love! I think both film and digital are good to know and use, but it does make me sad to have never actually spliced film in film school. I use a Sony V1U for my video work. KJ, thanks for the tip on color slides. I’ve never experimented with that, but will definitely have to toy around with that now!
Go to Comment
Movie Rental Stores almost 3 years ago
I love my local video store, Film Yard! It’s just really nice to go into a place that everyone in the neighborhood goes to. Everybody – the local baristas, the bar proprietors, the store owners, the guardian of that little yappy dog you always recognize – stops in to rent movies. And the clerks are all really friendly and knowledgeable. There’s always a conversation about film, people giving recommendations, going on.
I know this is all very idyllic and that not everyone is lucky enough to have a neighborhood like that. And I’m not going to weigh-in on Netflix here, because the truth about it is that it’s sometimes hard to find obscure things at my video store. But I’ll always go there just for the sense of community it brings.
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The best deals (purchase wise) you've come across almost 3 years ago
When I lived in Hong Kong for a year, I found a stand that sold Criterion Collection and rare dvds for USD $3-7. It was a dream come true.
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What is your Dream Project? almost 3 years ago
Adaptations of The Crying of Lot 49, 2666 or The Devil in the White City. I’d also be really curious to read your script of The Wind-up Bird Chronicle as well, Deckard.
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Which Director Would You Want As Your Father almost 3 years ago
Definitely Hayao Miyazaki!
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Now playing in San Francisco, California over 2 years ago
Also, the SF Cinematheque is screening Of Heaven & Earth: Films of Tom Chomont tonight (in an hour at SF Art Institute). http://www.sfcinematheque.org
October 1st-4th, the YBCA, is showing Dario Argentino’s Three Mother Trilogy. http://www.ybca.org/film/
ATA is showing Barry Jenkin’s shorts + Medicine for Melancholy this Saturday at 8p.
Lastly, Midnites For Maniacs has a midnight double-feature of The Lost Boys and Near Dark at the Castro Theatre this Friday night.
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Do you really think Twilight deserves to be on the Auteurs?! over 2 years ago
Hi all. Thanks for your recommendations of Court Yorga, Brides of Dracula, and Interview with the Vampire. They’re added to our queue of film pages to make.
Also, Dimitris, please send me some suggestions of films from Greece, Finland and Brazil that you think we should add to our database. We always consider community suggestions.
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Now playing in San Francisco, California over 2 years ago
SFFS has a really incredible Fall Season coming up:
Cinema by the Bay: Opening Celebration
Thursday, October 22, 8:00 pm
French Cinema Now: Opening Night
Thursday, October 29, 2009, 9:00–11:00 pm
Taiwan Film Days: Opening Night
Friday, November 6, 9:00–11:00 pm
More: SFFS Fall Season
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Now playing in San Francisco, California over 2 years ago
Also:
SF Doc Fest – Oct 16th—29th
Mill Valley Film Fest – Oct 8th—18th
Arab Film Fest – Oct 15th—25th
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Now playing in San Francisco, California over 2 years ago
More, more:
SF INTL ANIMATION FESTIVAL
Opening Night Party
Thursday, November 12, 8:00 pm
NEW ITALIAN CINEMA
Opening Night Party
Sunday, November 15, 8:00–9:30 pm
The Nightmare Before Christmas in 3-D
@the Castro Theatre
Sunday, November 1 – Thursday, November 5
Midnights for Maniacs “Love Kills” Triple Feature
True Romance, Natural Born Killers, The Doom Generation
@the Castro Theatre
Friday, November 6
SF South Asian Film Festival
@the Castro Theatre
Saturday, November 7 – Sunday, November 8
Akira Kurosawa’s Rashomon (Restored 35mm Print!)
@the Castro Theatre
Thursday, November 20 – Sunday, November 22
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In the Spirit of Derek Jarman over 2 years ago
As scared as the international economic downturn makes me, I’m also excited about it as far as what people will figure out they can do with limited resources. It’s always been about good ideas, whether you have $1 or a million.
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The Cannibal Manifesto over 2 years ago
I knew I had read this somewhere before, Tom! Is this a call to arms? I want to SEE some responses. :)
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Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
Beginning, December 9th, 2009, The Auteurs + Garage are hosting this on-line, round table discussion between nine expert panelists who will talk about the film Trains of Winnipeg (2004, 35mm, 87 min.) by Canadian director Clive Holden, and the implications of its recent inclusion in The Auteurs. What does this mean for avant garde cinema (also known as “experimental” or “non-linear” filmmaking)? Will web-based distribution open up the treasure chest of artist-made, non-dramatic narrative, filmmaking from throughout the last century, finally making it available for all to see? What’s the future for The Auteurs in terms of additions to its film library, or its format choices and other plans? And about the film itself, where does Trains of Winnipeg fit in, in the history or cinema? Is there such a thing as 21st century filmmaking?
After one week (on Wednesday morning, December 16), the discussion will be opened up to “questions from the floor.” In other words, to all The Auteurs members who can then contribute as they like, including asking questions of the panelists or the filmmaker.
Round Table Discussion Participants: Chris Gehman (filmmaker, writer, former Toronto International Film Festival “Wavelengths” programmer, and former Artistic Director of Images Festival, i.e. the first Trains of Winnipeg programmer); Brenda Longfellow (filmmaker, writer, film theorist, and Associate Professor in the Department of Film at York University); Dave Barber (Winnipeg Film Group’s Cinematheque programmer for over 25 years); Michael Sicinski (Houston-based teacher and writer in Cinema Scope Magazine, indiewire.com, Cineaste Magazine, and Cargo Magazine); Jason Anderson (novelist and film critic in Eye Weekly, artforum.com, Globe & Mail, Village Voice, and Cinema Scope Magazine); Alex Rogalski (Toronto International Film Festival programmer, and founder of the Take One Super 8 traveling film project); Tobias Morgan (Paris-based film director, and producer of The Auteurs’ Garage project engine); Alley Pezanoski-Browne (San Francisco-based film producer, and Producer for The Auteurs & The Auteurs’ Scratchpad on-line magazine); and Clive Holden (filmmaker and artist).
Q: what does it mean that people from around the world who’ve never seen a film like Trains of Winnipeg before, can now see it so easily, AND talk about it along with all the other films in The Auteurs’ offerings in an international community of film lovers––stretching their very idea of what a “film” is––could this change the history of cinema?
Go to Comment
Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
Wow. It’s been such a pleasure reading through what you all have to say that I haven’t been sure when or how to jump in! Thank you all.
I guess to start I should place myself. I would say I’m an elder of the Internet generation, just right on the line, meaning much that is happening online feels like second nature to me, yet I don’t use it with the complete ease of those in their teens and early-20s. And I am a rare “whippersnapper” who is still in love with celluloid and viewing films in a dark cinema with other people.
I think the points brought up by Brenda referring to how young people watch films today are really interesting. I’ve heard from film professors that their students are now watching entire feature films in segments on YouTube, a sort of Cliff’s Notes of the most “important” scenes. Thinking of the ways in which people watch online, I would agree with Chris that the segmentation of ToW makes it uniquely suited for this form of distribution (and we at The Auteurs are extremely lucky to have ToW and Clive). But it is also complex and lyrical. In this way, could it be a “bridging” piece for those new to experimental or non-commercial films? I hope that it will be for some in The Auteurs community.
I would agree with Chris that there are some films that are meant to be seen on a cinema screen and in a very particular setting. But that, as Alex and others have mentioned, online distribution is an exciting way for people to watch films they wouldn’t see otherwise. I remember watching a film print of Gunvor Nelson’s “My Name is Oona” and falling in love with it. Even though I know she would be horrified to know that you can find the film online, I was excited to happen upon it again and shared it with others in The Auteurs community who had never seen it before. Is it better for people to be exposed to this film, even out of its ideal context? I’m not sure… But I think there will always be people who want to see a film the way the filmmaker originally intended it to be seen, regardless of the viewer’s age.
It’s funny that both of you bring up VHS, Clive and Alex. VHS has become somewhat of a collector’s item in certain circles, found in the same context as the LP. I suspect that this is the case because in the transition from VHS to DVD, many important titles were lost. I think this is the real danger in advancing technologies. It would be devastating to lose a film completely, which is maybe why the drive to make all films available online, or at least digitally archived, is actually more important.
And as for the film, ToW.
Watching the film was a personal experience for me, as it was for others in this discussion. The first thing it made me think of was jumping train cars as a teenager in the Midwest of the U.S., not riding very far, because there was nowhere for me and my friends to really go. The trains signaled a possibility of the larger world for us, which is also what films do for so many people.
Go to Comment
Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
A quick comment/question (I want to write more about ToW when I get the chance…):
I wonder what will happen when it is easier to connect your computer to a larger screen in your home, like when Mac Minis become more affordable. Will more people start watching longer format films via the Internet? Will Internet media lose the “intimate” feel Tobias first brought up if seen on a larger screen?
Go to Comment
Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
Also, I love the term “dynamic cinema”, Clive, and I want to ask you if you could talk a little bit about what you are working on now.
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Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
Re: what’s in store for The Auteurs regarding streaming/screen size? I can’t give too many hints, Clive. But I can say that using The Auteurs with a Mac Mini or by connecting your computer to your TV screen are really the best ways to watch our streaming content. Of course, there are increasingly more ways to do this, and improving the home viewing/streaming of our films is one of the major things The Auteurs is focusing on in 2010.
And thanks for telling us more about “U Suite”! I’m excited to explore usuite.org some more.
Go to Comment