Tuesday, November 20, 2012

Tuesday, October 9, 2012

Throbbing Gristle - Live At Oundle School (1980)

The infamous performance at the school for boys (aged 16 and under) in Peterburough, England.  Apparently, the group was invited care of one young fan (not Jhonn Balance, contrary to rumors) who told his headmaster that the group was "like John Cage".

Monday, October 8, 2012

Throbbing Gristle- Heathen Earth (1980)

The unmastered live and uncut snuff quality videocassette of the band recording their "live" album in front of some invited guests including writer Jon Savage. 

Tuesday, September 4, 2012

The Love Life of the Octopus dir. Jean Painlevé (1967)

Score by Pierre Henry (this was also later scored, in an interesting though far inferior interpolation, by Yo La Tengo)

Sunday, September 2, 2012

Protect and Serve dir. Ben Shapiro and Greg Eggebeen (2012)

Shown as part The New Inquiry's series on law enforcement.

One Point Perspective dir Kogonoda (2012)

Kubrick // One-Point Perspective from kogonada on Vimeo.

Great montage of Kubrick's use of one point perspective.  Ignore the way-overutilized Clint Mansell piece that everybody seems to use for every trailer on the planet and which Kubrick never would have used.  Wish they'd gone with the Ligeti piece that opens it, but oh well.

Saturday, August 11, 2012

Benny Goodman- All the Cats Joined In (1946)

Cab Calloway- "Minnie the Moocher" (1932)

Cab Calloway- "St. James's Infirmary"

Rhymthmus dir Hans Richter (1921)



 "Soviet avant-garde tectonics first appear on film in an entirely abstract fashion, and not in the USSR at all, in the form of Hans Richter’s series of animated shorts, Rhythmus, made in 1921–23. These compelling successions of polygons, intersecting, growing and pulsating, were very obviously based on the precedent of suprematism, the cult-like cosmic communist abstraction movement that applied its shapes to everything from propaganda posters to ceramic plates to putative buildings"-Owen Hatherley

Sunday, July 15, 2012

Sigue Sigue Sputnik- "21st Century Boy" dir (? any ideas?) (1984)

"Sigue Sigue Sputnik might be the first band to admit that their branding was more important than the music. Indeed, Tony James never allowed record executives to hear SSS demo tracks, instead playing them a short video collage of futuristic and science-fiction movie clips

"Conflict’s ascetic vegan anti-capitalism is the polar opposite of Sputnik’s total embrace of hi tech corporate culture. The  video for “21st Century Boy” includes a shot of Martin Degville licking a Sony Discman. Sigue Sigue Sputnik embraced commercial sponsorship at a time when this was still thought of as massively uncool by most “serious” music fans".- John Eden, uncarved.org

Also interesting to note the possible origins of the name L-Vis 1990 in the video.

Saturday, June 2, 2012

Doug Aitken's Song 1 "Happening" Live (2012)

featuring Nicholas Jaar, Oneohtrix Point Never, No Age, and High Places

Tuesday, May 29, 2012

Saturday, May 12, 2012

Awareness dir Ed Tenenbaum (1985)

Music- "Gamelan" by Maggi Payne

Digital Dance dir Ed Tenenbaum (1982)

Music by Might Dog, who sound like they belong on 100% Silk. Anybody have any info on this band?

Thursday, May 3, 2012

Grindstone Redux dir Andrew Szava-Kovats (2009)

If Bwana
Don Campau
Cancerous Growth
Mental Anguish
Viktimized Karcass
Jeff Central
Curious voltage
Randy Greif
Herd of the Ether Space
- ing
Mark Lane
Parade of Sinners
Alien Planetscapes

Tuesday, May 1, 2012

Wednesday, February 29, 2012

"Daddy's Song" from Head dir Bob Rafelson (1968)

I think the best part of this sequence is how the flashes are jump cuts, but only slightly. If this film had been made in the digital/post MTV age (and that's a big if), they probably would have matched on action far more precisely, but instead the effect is extra disorienting as bodies jolt horizontally back and forth. In a way though, Head anticipates digital; along with 2001 (released the same year), its the dawn of narrative film as postproduction fantasia. "Narrative" is, of course, highly subjective as Head shares many traits with the art film (it's essentially a long, at times nightmarish acid sequence- not unlike another, less succesful Nicholson-associated outing from the year before- The Trip), but Head is among the first of a breed of films whose plotlines wouldn't be possible without post-production. It's a shame then that Bob Rafelson, after making such a bold experiment, would return to shooting only in traditional form.

Thursday, February 9, 2012

Koyaanisqatsi (originally directed by Godfrey Reggio) sped up 1552% by Wyatt Hodgson (1982/2012)

Balance Out of Life from Wyatt Hodgson on Vimeo.

"The year 1552 marks the publication of "A Short Account of the Destruction of the Indies," an account of the mistreatment of the Indigenous Peoples of the Americas"- Wyatt Hodgson

"In the postmodern worldview, narrative has lost its sacred power. The semiotic significance of this lose is profound, for by rejecting traditional narratives of the West, the postmodern myth has rejected the centering structures that have long given meaning to human history."

"...With its disconcertingly narrativeless flow and violent juxtapositions of discontinuous images, the film presents a postmodern parody of traditional film documentaries to show us just how senseless and disharmonious the modern world has become. Paradoxically enough, it's a postmodern denunciation of the culture of postmodernism.

"Ultimately the sheer spectacle overwhelms the moral. Social criticism becomes postmodern art.And that's the Semiotic secret concealed by the overt moral message of Koyaanisqati: that the technological resources of the television age have souped up our apprehension of reality. We don't really care whether things make sense as long as they look interesting. Electrically powered and technology-wise, postmodern consciousness is entertained by what it sees. If the modern world's a wasteland, it's a very entertaining wasteland."

- Jack Solomon, "Our Decentered Culture: The Postmodern Worldview"

"In a sense, Koyaanisqatsi is the world's best student film--a two-and-a-half million dollar one--with the familiar and easy juxtaposition of undefiled Nature against the moral evils of the Big City. This dichotomy has a distinguished U.S. pedigree, through transcendentalists and populists, and here it's propped up by the Hopi Indian philosophy encapsulated in the title word (roughly "life out of balance). That said, Koyaanisqatsi is astonishingly involving, a visceral experience of image and music without recourse to narration or actors, featuring one of Philip Glass' finest works, composed in tandem with the images over several years. The riveting photography--which must be seen in a theater--is as seemingly repetitive and distanced as the Glass score. No matter what qualms one might entertain over its "philosophy," Koyaanisqatsi forces one to experience America in a completely new way. How many films can claim as much?"--Scott Simmon, UC Davis

"As an English reviewer remarked of Koyaanisqatsi–a film that, incidentally, owed most of its exposure to Francis Ford Coppola’s distribution–”Its vainglorious appeal as a ‘new cinematic experience’ is really to an audience that would rather be open-mouthed than open-minded.” I found its glib borrowings from the avant-garde so irritating that I had no sense of regret about missing its sequel."- Jonathan Rosenbaum, Chicago Reader

Rosenbaum also said that the film essentially rehashed ideas from The Man With a Movie Camera, but in a sense Koyaanisqatsi is far from a sequel, it's an opposite. MWAMC is the ultimate celebration of becoming-cyborg, man finally gaining the dignity of the machine in the development of an Marxist/Fordist work ethic that equalizes both man and his mechanical neural extensions (shades of McLuhan here), while Koyaanisqati depicts technology as alienating ourselves from nature, and hence one's essentialism. Despite these diametrically opposed vantages, both films can be said to have a sequel in Jennifer Baichwal's brilliant Manufactured Landscapes (based on the photography of Edward Burtynsky), wherein both man and nature have been conquered and colonized by the artifical. A reciprocal wasteland.

Tuesday, February 7, 2012

Hi Tech Soul dir Gary Bredow (2006)

"The general attitude here with the powers-that-be is that industry must die to make way for technology. The climate has definitely affected us, and I think that we probably wouldn’t have developed this sound in any other city in America."-Juan Atkins