The rise of experimental film festivals in India

2019 ◽  
Vol 10 (1) ◽  
pp. 7-22
Author(s):  
Gauri Nori
Keyword(s):  
Case Studies ◽  
Experimental Film ◽  
Film Festival ◽  
Film Festivals ◽  
Moving Image ◽  
Cultural Organizations ◽  
Medium Section

Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of moving image experimentation in the country. Drawing on first-hand observations, interviews and scrutinizing festival ephemera, this article aims to identify the curatorial practices and strategies that have established these alternative film festivals both within the international film festival network and the larger film community in the country.

Individual, Network, Assemblage: Creating Connections on the Global Film Festival Circuit

Film Studies ◽  
2016 ◽  
Vol 14 (1) ◽  
pp. 75-92 ◽  
Author(s):  
Luke Robinson
Keyword(s):  
Case Studies ◽  
Chinese Language ◽  
Film Festival ◽  
Film Festivals ◽  
Analytical Problem ◽  
Global Circuit ◽  
Sales Agents

What role do individuals play in sustaining the so-called global film festival network? This article considers this question through case studies of four specialist Chinese-language film festivals in London. It argues that while the global circuit shapes the institutional appearance of these smaller events, the kinds of strategic collaborations that the organisers of the latter effect at the former – striking up connections with directors and sales agents at film markets, for example – are key ways in which global relationships and A-list events are built from the ground up. These mutually related but unstable interactions allow us to rethink the network as an assemblage of events and individuals, addressing the analytical problem of scale in film festivals studies in the process.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

scholarly journals Surface and light

2019 ◽  
pp. 169-178
Author(s):  
Melanie Wilmink
Keyword(s):  
Case Studies ◽  
Installation Art ◽  
Single Channel ◽  
Embodied Experience ◽  
Moving Image ◽  
Space And Time ◽  
Short Films ◽  
Curatorial Practice ◽  
The Spectator

Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.

scholarly journals Dancing the Museum Black: Activist Animations of the Social

2021 ◽  
Author(s):  
Thomas F. DeFrantz
Keyword(s):  
Case Studies ◽  
Social Space ◽  
Black People ◽  
Moving Image ◽  
Black Dance ◽  
Working Through ◽  
The Social ◽  
Black Activist ◽  
Image Object

This chapter considers concepts of activism and Black presence in experiences of dance in museums. Working through concepts of Afropessimism, Afrofuturism, and the theoretical gathering notion of a Black Commons, I will offer four case studies of dance in the museum that render the space towards collective Black possibilities. The choreographic works Dapline! (2016), fastPASTdance (2017), as well as a reconstruction of Instead of Allowing Some Thing to Rise Up to Your Face Dancing Bruce and Dance and Other Things (2000) and the moving-image object APESHIT (2018) offer evidence of a special possibility for Black dance in the museum space; a creation of social space too-often denied to Black people in diaspora.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D

2020 ◽  
Author(s):  
Kristen Whissel
Keyword(s):  
Case Studies ◽  
Ideal Case ◽  
Moving Image ◽  
The Past ◽  
Parallax Effects

This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis.

Elsewhere: The Last Circus

2020 ◽  
Vol 74 (1) ◽  
pp. 84-87
Author(s):  
Bilal Qureshi
Keyword(s):  
Social Order ◽  
Documentary Film ◽  
Small Scale ◽  
Film Festival ◽  
Film Festivals ◽  
Collective Experience ◽  
Regional Location ◽  
True False ◽  
Falling In Love

FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

Absence, Ambiguity, and Deviating Pleasure Activism: The Tokyo Rainbow Film Festival

2019 ◽  
Vol 23 (1) ◽  
pp. 23-36
Author(s):  
Qin QIN
Keyword(s):  
Organizational Studies ◽  
Methodological Framework ◽  
Film Festival ◽  
Film Festivals ◽  
Two Factors ◽  
Diachronic Study ◽  
Historical Trajectory ◽  
A Site ◽  
Shed Light

Abstract Whereas several Japanese popular magazines have published reports and interviews on LGBT film festival curators, little scholarship has shed light on Japanese LGBT film festivals. This article serves as a case study of how the festival enables the festival community—cinephiles, LGBT audiences, organized groups of activists, and indie filmmakers—to share ideas and coordinate within and outside the metropolis. I conduct a synchronic and diachronic study to sketch the historical trajectory of the festivalgoers, material spaces, festival formation, curation, and programming. In utilizing a methodological framework which includes geopolitics, gender, film, and organizational studies, this article proposes an approach that juxtaposes the classic concept of ‘counterpublics’ with the theoretical reading of affective politics and pleasure activism. The findings suggest that the Tokyo Rainbow Reel Film Festival functions as a site of discursive political stances and affective disposition. The ambiguity of the film festival space correlates closely with two factors: Japanese homophobia, or ‘the absence of LGBT’, and an unorthodox pleasure activism that does not include suffering and oppression.

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