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Sleep Has His House (Kavan novel) - Wikipedia

Everything threatens to crack. Besides being a director, Aquilar is an editor and a producer. We usually reject these requests. But this time we received an award of a multinational company and it came with a sum that we urgently needed in order to continue our programme. This time they wanted to produce a video, a one shot sequence.

They seemed nice, but their task was to produce emotional images featuring the bodies of the refugee students, underscored by the voice of the white professor contextualising their movements and giving meaning to the frames. The whole thing became an installation shown at 3. Herbstsalon, Maxim Gorki Theater. Its aim is to provide equal access to formal art education for people who have fled or migrated to Germany.

Refusing to be integrated into an economy of difference, we aim to formulate strategies that position us outside of the grid of representation. Together we want to find answers to the question of how an art school of the future would look like if it genuinely recognised migration as an essential societal factor. Berliner Herbstsalon, a festival for contemporary art by the Maxim Gorki Theater.

Shot on location in Kampala, Uganda, the film combines narratives connected to the symbolism surrounding the sport of boxing. From the very personal and intimate relationship between the artist and a boxer in a sparring match, to a story about the black heavyweight as a gallant and politicised figure in the historical match-up between Sonny Liston and Floyd Patterson. The film also diverts into several off-topic sequences; showing a group of stunt bikers during an euphoric highway performance, tracing history through a tree planted on October 9th , the day Uganda gained independence from Britain, and visiting the former Gaddafi National Mosque.

Rilke addresses existential themes, profoundly probing the quest for individuality, the significance of death, and reflection on the experience of time as death approaches. He graduated from the Bergen Academy of Arts and Design in The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone. In a few billion years, the sun goes down.

Time enough to leave the inhospitable places of the earth. The flight ends with a crash in Paradise, which has been provide with a decay data by the manufacturer. The search of an angel produces a lot of stardust. Il est aujourd'hui artiste-chercheur du programme doctoral Radian.


Newsreel 63 follows newsreel-related practices and tries to position and understand a particular image a shred of video taken on the once famous Belgrade - Ljubljana rail-line, where refugees now travel not in couchettes but between the trains wheels. Newsreel 63 drifts into a visual investigation of railways and explores its historical, social and political narrative. The essayistic and associative elements of Newsreel 63 link this historical narrative to our pursuit of happiness, the idea of voyage in the current social constellation, where our longing for happiness is all too often tied to the idea of travelling somewhere or indeed the need to secure the means for mere basic survival.

Her practice is primarily based on experimental videos and documentary films, film essays, newsreels and spatial video and film installations. Three channelled video. The film focuses on the vocabulary, tools and human representation in the various types of software that is used for modelling and tracking crowd behaviour.

Featured in the film are examples from online crowd simulation tutorials: coordinated swarms, mass body crushes, campsites and religious gatherings such as the Hajj in Mecca. These examples are juxtaposed with newly shot scenes of gestures and postures drawn from the simulated crowd agent, the default character, pre-programed behaviour re-enacted by dancers and images from human tracking devices and. Sheding new light on the digitisation and simulations of crowds, their interconnected technologies and their inherent potentiality to predict and model our future collective behaviour.

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The aesthetics and politics of digitized and simulated crowds. Anna Adahl is a visual artist and researcher working in various mediums such as film, installations, performance and collage. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. In she started her practice-led PhD adressing the aesthetics and politics of digitized and simulated crowds. Over the past decade the notion and politics of crowds has been central in Anna Adahl's artistic practice.

In numerous works she has been observing and examining the relationship between the individual and the mass as well as the language of the body in relation to the psychological, physical or political space that surrounds it. Within her current practice based research her focus has turned towards the conditions, the aesthetics and the politics of contemporary crowds, operating in a new computational realm. This is a meta-filming attempt to represent a failure.

Conceptual challenge of a cinematographer who had to deal with passionate archivist, who works in the Film archive, uncompromisingly Film archivist forgetting the cinematic result demanded by the filmmaker, An archivist who belongs to celluloid age, still works with celluloid, starts confronting about the medium and time. Does the spectator really realise the conceptual mistake, or are they decided to go with a flow designed by filmmaker?

The short movie is divided into 4 movements, every movement is dedicated to a specific moment of cinema, but it is also a metaphor of your relationship with your subject. Movement 1: creation.

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Margarita speaks about the birth of cinema. Movement 2: preservation. Margarita speaks about preservation. It is a metaphor of the director is trying to keep a good relationship with his character. Movement 3: destruction. Margarita speaks about censorship that is a destructive force. Ananthakrishnan is deeply involved in cinematographic and photographic storytelling. He traveled across India for geographically exploration of the socio-political structure. He worked as cinematographer for Tehelka music project, in New Delhi, and also with a documentary curating initiative called magiclanternmovies.

Finally, as a video volunteer he worked at Primitive Seed Movement in navdanya. His ambition is to contemplate on the borders of practice and theory of documentary and fiction.

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He started his study at Gandhigram Rural Institute in Tamilnadu. He went on to complete his studies in community media at Tata Institute of Social Science in Mumbai tiss. Afterwards, Ananthakrishnan received a Camargo Foundation Residency Art Fellowship in France to work on his working progress feature documentary Shadows of gandhi.

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Then he got accepted in the Summer Travelling Film School Cinemadamare in Italy cinemadamare, where he shot five short films during the period of two months. His short documentaries and short films were widely screened at many international film festivals. Lucas School of Arts in Belgium.

He also won twice the Best Cinematography Awards during the tenth Cinemadamare edition in The shadows of screams climb beyond the hills. It has happened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground.

Through long static takes, the film develops a contemplative, hypnotic experience, akin to paintings that move, mixing live action and still photography shot on iPhone and hand-drawn images. His work has been associated with the Remodernist and Slow Cinema movements. Over the course of a year, WALD returns to a forest glade. The film witnesses the vegetation changing in different seasons. A house can be seen dimly in the distance.

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A panorama pan scans the space. The pan is shot with a 16mm Bolex by hand. All there is to do now is wait for the lightning and fire to come down. Barley, an installation artist and filmmaker from Wales, has more in common with the long-dead Caspar David Friedrich, a 19th-century Romantic landscape painter, than any contemporary avant-gardist.

Then a stream will flow, a gust of wind will blow across the trees. Friedrich would often place meagre humans or their ruins in the foreground of a far greater natural backdrop. That is not necessary here; this is a film that by sheer aesthetic magnitudes dwarfs its spectator in every possible way.

Sleep Has His House

From its inception, cinema has had a complicated relationship with painting, and it remains rare for a contemporary film to resurrect or even allude to a deceased artistic project from the s. No longer required for documentational purposes but free to explore more abstract styles, early modernist painters abandoned single-point perspective and all the verisimilitude that came with it.

In the early days of cinema, on the other hand, some did their meticulous best to replicate the canvas on the silver screen with often awkward results. Mechanical reproduction by itself could not be art, so by turning cinema into moving paintings, silent filmmakers sought to legitimize the medium through analogy to a supposedly higher form of expression. Barley is obviously not the first cineaste to update or adopt the conventions of a certain mode of painting.

The filmmaker that immediately comes to mind is Andrei Tarkovsky, who not only made a film about a painter Andrei Rublev [] , but who frequently included lengthy interludes of paintings in his work. Tarkovsky was less interested in replicating the visual style of a painting than capturing its essence, adopting its ideas using uniquely cinematic means. As the eponymous characters move from one natural backdrop to the next, Sokurov transforms a mechanical reproduction into something that is on the verge of abstraction.

Nature becomes dominant and the characters are left opaque afterthoughts. It has happened before. But this will be the last time. With no words and no characters, Sleep Has Her House seeps down into the deepest crevices of our collective soul, engaging a fear spiritual in its disposition.

This is a visual and aural language of the apocalypse, a crisis of faith in its purest, most elemental form. This beautifully produced coffee-table book brings together over of Georgia Straight's iconic covers, along with short essays, insider details and contributor reflections, putting each of these issues of the publication into its historical context.

Your mastery of top 40 lyrics was equal parts cringey and adorable. It'd be cool to see you