1. raveneuse:

    Kurt Kren, 9/64 O Tannenbaum / 9/64 O Christmas Tree, 1964. 16mm, colour, silent, 2:56 min. Action by Otto Mühl.

    (via experimentalcinema)

    Tagged #film
     
  2.  
    Tagged #music #film
     
  3.  
    Tagged #music #film
     
  4. Film still from The New Babylon dir. Leonid Trauberg and Grigori Kozintsev (1929)

    Tagged #film
     

  5. This does not mean that ethnographic research does not get it wrong or that inferences are not made rather it is understood that any statement about the nature of the audience needs to move beyond mere speculation or self-reflection. Qualitative methodology does not get at an essential Truth; rather it grounds its inferences concerning the audience within the confines of actual audience practices. Furthermore qualitative methodologies attempt to keep in sight the highly reflexive stance that the researcher constructs around the knowledge of the audience through a complex interaction with the very “object” of knowledge. The ethnographic researcher in the field recognizes that this minefield, so to speak, is the only terrain in which to meet the audience and come to some understanding of its nature. In this sense ethnographic research of audiences are always ethnographies, multiple and contingent.

     
  6. However these privileged workers of the completed commodity society do not resemble slaves in the sense that they must provide for their upkeep themselves.  Rather their status can be compared to serfdom, because they are exclusively attached to an enterprise and to its smooth running, without receiving anything in return, and above all because they are strictly compelled to reside in one single space: the same circuit of ever identical dwelling-units, offices, motorways, holidays and airports.

    But they also resemble modern proletarians by the precariousness of their resources, which is in conflict with the programmed routine of their expenditure: and by the fact that they have to hire themselves out on an open market without possessing anything of the instruments of their labor - because of the fact that they need money.  They have to buy commodities: and things have been so arranged that they cannot remain in contact with anything which is not a commodity.

    In Girum Imus Nocte Et Consumimur Igni (We Spin Around the Night Consumed by Fire) dir. Guy Debord (1978)

    Tagged #film #politics
     
  7. moviesinframes:

    The Parallax View, 1974 (dir. Alan J. Pakula)

    By
    gentlemanloser
    Tagged #film #politics
     

  8. For Metz then the film spectator’s ability to hold two “two contradictory opinions” is rooted in the early experience of the child’s disavowal of castration by maintaining a belief in the maternal phallus. Metz maintains that this is the root or “matrix” of the ability to psychically hold two different emotional experiences which the cinematic apparatus then activates. The spectator is split in two different states; there is an incredulous spectator that knows the events on the screen are merely projected light and are fictional (that is, there is in the spectator a deeper psychic layer that perceives that the mother does not posses a penis and therefore is castrated) and a credulous spectator that believes the events and characters on the screen are real (that is, there is in the spectator a refusal to believe that the mother is castrated and a desire to believe she has a penis). For Metz, fundamental to the film-viewing situation is the continual back and forth splitting of consciousness and belief based on this primary fetishistic disavowal. (It is fetishistic because it allows simultaneous elaboration of two contradictory meanings and experiences.) The consciousness of the spectator is divided; a no to reality and a yes to the cinematic dream. This does not mean that looking at the screen is like looking at the castrated mother, but that the cinematic experience is made possible by and recapitulates for the film spectator the earlier unconscious experience.

     
  9. pleasebelieveinc:

    School in the Crosshairs, 1981, Nobuhiko Ohbayashi(Hausu)


     

    (Source: film-stills.livejournal.com, via nkym)

    Tagged #film
     
  10. belacqui:

    What are they doing? Why do they come here?

    —Some kind of instinct. Memory of what they used to do. This was an important place in their lives.

    dawn of the dead - george romero 1978

    Tagged #film
     

  11. film is dead! long live the database!

    it’s nice to see that i can count on some tumblrs to have good sense and taste and agree with me.  really what is all the fuss about regarding the movie her (we know it’s just industry hype). a guy uploads his new operating system and proceeds to live out bill gates’ wet dream.  people finally overcome their mean world syndrome and abandon their computers and get out of the house only to watch the story of a guy falling for his operating system.  this is not a look into the near future but rearview mirrorism at its finest: looking into the past while thinking you are looking into the future. do we really need spike jonze and that actor what’s-his-name to tell us people have love/hate relationships with their computers? shouldn’t it have been a linux? 2001: a space odyssey (made in ‘68) was much more interesting with a homicidal, bureaucratic computer named hal determined to murder an entire spacecraft crew due to a bruised bit of ego or circuitry. her is really 12 steps behind a film like lars and the real girl.  a film with much more predictive and sociological value.  it is this type of narrative that needs to be expanded and i would suggest rather than computers, which is really oh so 40 years ago, spike jonze et al investigate the relationship between a “real” man or woman and some sort of genetically constructed replicant partner. get all donna haraway and psycho-sexual cyborg with that shit.  ridley scott established a nice start (thanks to pkd) with blade runner so let’s move on. even a so-so film like splice did a good job of exploring the quandaries that befall the nuclear family once parents can genetically program their progeny.  all of the prattle about computers, social media and the internet is really only the continuation of a discourse that started with the invention of the telegraph in the 1800s. the stories that we need to begin telling ourselves have to do with the newer technologies of genetics and cutting edge psychopharmacology and the manner in which these technologies will create environments that will be shit storms of mcluhanesque proportions.  that’s a love story or should I say fetish story that needs to be told.

    i think what her might really be about, quite by accident, is the power of the female voice over male sexual psyches.  although men like to think they are attracted to a certian physical type, what really counts at the unconscious level is the sound, timber and grain i.e. eroticism of a women’s voice. its ability to evoke in the male listener - without the poor schmuck even realizing it - all sorts of mommy phantasies. and scarlett johansson’s voice has obviously echoed deeply in the psyches of spike jonze and his demographic.

    Tagged #film
     
  12. To me, the devil is cheerful, agile. He looks like a little girl.

    Images from Federico Fellini’s film Toby Dammit from Spirits of the Dead (1968).  One of my favorite films. 

    (Source: suchasadaffair, via bittercinema)

    Tagged #film