Tag Archives | Filmmaking

The Birth Of Surveillance Video Filmmaking

A trailer for the 2007 film Faceless, which includes Tilda Swinton in its cast and is comprised only of CCTV camera footage. The United Kingdom's Data Protection Act allows people to access stored information on themselves, including surveillance video. Director and star Manu Luksch has explained that as a filmmaker, she realized it was pointless to bring her own camera since she and the other actors were already being filmed all of the time:
FACELESS was produced under the rules of the ‘Manifesto for CCTV Filmmakers’. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation.
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A Timothy Leary for the Viral Video Age

Jason SilvaRoss Andersen writes in the Atlantic:
I want to introduce you to Jason Silva, but first I want you to watch this short video that he made. It will only take two minutes, and watching it will give you a good idea if it's worth your time to read the extensive interview that follows. If you ever wondered what would happen if a young Timothy Leary was wormholed into 2012, complete with a film degree and a Vimeo account, you have your answer: Jason Silva. If Silva, who was born in Venezuela, seems to have natural screen presence, it's because he's no stranger to media; he worked for six years as a host at Current TV before leaving the network last year to become a part-time filmmaker and full-time walking, talking TEDTalk.
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Free Exclusive: Clark, A Gonzomentary

Clark: A Gonzomentary“This lunatic ‘Clark’ has Adonis DNA in his veins,” —Charlie Sheen

“This movie is a complete trainwreck. And I mean that in the best way imaginable.”  —Entertainment Weekly

Clark: A Gonzomentary explores the struggles of Clark, an outsider artist who struggles to gain a following for his phallic art series, “Body.”

The fourth wall is broken in about a thousand pieces as the documentarian himself is pulled into the nightmarish downward spiral that concludes this psychedelic-soaked commentary on art in a capitalistic society.

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Sex, Lies & Media: New Wave of Activists Challenge Notions of Beauty

Miss RepresentationEmanuella Grinberg writes on CNN:

Here’s the fantasy: A half-naked woman lies across a couch, lips pouty and cleavage prominent as her sultry gaze implores you to buy this bottle of perfume.

The reality: Women make up 51% of the United States yet only 17% of seats in the House of Representatives. They’re 3% of Fortune 500 CEOs and 7% of directors in the top 250 grossing films.

What’s the connection? We live in a sexualized society where the gap between fantasy and reality is vast and harmful, director and activist Jennifer Siebel-Newsom says. “Women are aspiring to do great things in leadership, yet the glass ceiling is still there because of the way media depict women,” Siebel-Newsom said. “It influences our culture and dictates our gender norms and values.”

Siebel-Newsom’s documentary, Miss Representation, is the latest cinematic foray in the movement to challenge portrayals of beauty in “the media,” a term used to describe all forms of mass communication, from the internet, TV, film, magazines, radio and advertising …

Read More: CNN

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Eat The Academy

On Preventing the Ceremonies of Dumb People in Hollywood From Being a Burden on Their Parent Companies or Country, and for Making Them Beneficial to the Public

Kill screen from the Cartoon Network video game Orphan Feast

Kill screen from the Cartoon Network video game Orphan Feast

“I am giving an account of what…ought…to be.”
William Daniel Defoe, A Friendly Proposal for Foundlings and Bastard Children Moll Flanders

Much like the birth of Christ, historians of film rarely agree on when it happened: the birth of cinema, that is. Perhaps even more controversial, however, is the question of paternity. Who’s your daddy, indeed?

Francophiles will forever laud Méliès, Teutons will zealously campaign for Murnau, the Russians <3 Eisenstein and proud Americans some of D.W. Griffith’s first, err, exploits. And yet, no matter the geographic genesis of film, one fact about its origin remains clear across the national board: it was, in fact, a silent birth. #Scientology.

If radio had delivered the psychologically bewildering disembodied voice (i.e.… Read the rest

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Dau: The Biggest, Most Insane Movie In Cinema History

movie-set-ate-itself-628From GQ, Michael Idov visits the cult-like set of the Ukrainian film Dau — an enclosed bubble where thousands of actors have been living the lives of their characters 24 hours a day, ever since production began in 2006, using Soviet passports and money, in a world that is exactly as things were in the 1950s, while their real lives recede into the past:

Five years ago, a relatively unknown (and unhinged) director began one of the wildest experiments in film history. Armed with total creative control, he invaded a Ukrainian city, marshaled a cast of thousands and thousands, and constructed a totalitarian society in which the cameras are always rolling and the actors never go home.

The rumors started seeping out of Ukraine about three years ago: A young Russian film director has holed up on the outskirts of Kharkov, a town of 1.4 million in the country’s east, making…something.

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1896 Film: Loie Fuller’s Psychedelic Serpentine Dance

Via VictorianGothic.org:
This 1896 Lumière Brothers film captures a performance of Loïe Fuller’s “Serpentine Dance.” No, there was no LSD in the 1890′s, but yes, there were colorized films. In the technique used above, each frame was individually hand-tinted using stencils and colored dyes. It was a laborious, manual process, and it was first employed to recreate Loïe Fuller’s stage magic; acclaimed for its early use of chromatic theatrical lights that illuminated the dancer’s flowing white silk...
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Brave New Films Invites You To Edit Sarah Palin’s Movie

The last thing anyone wants to do is give Sarah Palin more media press. More attention isn't going to make her go away, however. Brave New Films is inviting you to help edit her new film by adding comments she forgot mention.
There’s nothing funny about Palin or her influence on our democracy, but together we can use satire to make an impact and undermine her aura of authenticity and altruism. Satire is an effective tool to take the conservative opposition's perceived strengths and use it against them, which is what we’re doing here with Palin’s movie.
Submit what you think Palin has left out at palinundefeated.com and you could win her bobblehead.
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