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Which clippings match 'Independent Cinema' keyword pg.1 of 3
16 OCTOBER 2015

The Age of Stupid (2009): exploitation colonialism

Franny Armstrong (2009). "The Age of Stupid". London, Spanner Films / Passion Pictures.

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2009 • 2055 • 2D animationAfrica • animated segments • Atlantic slave trade • British filmclimate changecolonial expansioncolonial historycolonisation • copper • cotton • crude oildepletion of natural resourcesdestructive practices • diamond • drama-documentary-animation hybrid • economic policy • energy consumptionenvironmental determinism • exploitation of native populations • exploitation of natural resources • extraction of raw materials • fertile landfinancial gain • Franny Armstrong • geopolitics • George Monbiot • goldhuman history • hybrid cinematic technique • imperialismindependent cinemaIraq • ivory trade • John Battsek • Lizzie Gillett • Mark Lynas • national territory • native populations • natural resourcesoil extractionPassion Picturespatterns of consumption • Pete Postlethwaite • rubber • satirical illustration • slave trade • slavery • Spanner Films • spice trade • territory • The Age of Stupid (2009) • timber • tin • transatlantic slave trade • war over water • William Tell Overture • wood

CONTRIBUTOR

Simon Perkins
07 MARCH 2015

Albert Maysles: 26 November 1926 - 5 March 2015

"It is with great sadness that we announce the passing of our founder, legendary filmmaker Albert Maysles. Albert was a loving husband, father, brother and friend to many. For more than five decades, Albert created groundbreaking films, inspired filmmakers and touched all those with his humanity, presence and his belief in the power of love. He was also a teacher, mentor and a source of inspiration for countless filmmakers, artists and everyday people."

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CONTRIBUTOR

Simon Perkins
12 DECEMBER 2013

Digital Bolex: 16mm Filmmaking Goes Digital

"Most film students now use DSLRs. But for those who want a digital tool to produce more film–like images, Bolex – one of the classic 16mm camera makers – recently started shipping a digital 16mm–equivalent video camera that's fully compatible with the most desirable vintage C–mount lenses.

The new Bolex camera, dubbed the D16, doesn't just sport a retro look. Its Kodak–produced CCD sensor is very close to Super 16–sized, which is uncommon in modern cameras. Even better, that sensor shoots in RAW at 32 frames per second at a resolution of 2048x1152 pixels. Every uncompressed frame should be sharp, as opposed to the compressed footage even full–frame DSLRs produce. Plus, the Super 16–sized sensor means that the D16 can use C–mount lenses without any crop factor.

The camera is being produced under the name 'Digital Bolex,' but it's actually a joint venture between the original manufacturer, Bolex International, S.A., and Cinemeridian, Inc, a young company of digital wizards that was formed to bring this idea to fruition."

(Kif Leswing, 11 December 2013, Wired.com)

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16mm • 16mm-equivalent • 2012 • 32 fps • Blackmagic • Bolex • Bolex camera • Bolex D16 • Bolex International S.A. • C-mount lens • camera • camera maker • camera technology • CCD sensor • cinematic devices • Cinemeridian Inc • classic 16mm camera • compressed footage • D16 • digital • Digital Bolex • digital cameradigital cinema technologydigital pictures • digital tool • digital viewfinder • DSLR • film and video equipment • film camera • film school • film-like images • ilm grain • image qualityindependent cinemaindie filmmaker • joint venture • KickstarterKodak • moviemaking • old-school • pistol grip • RAW • retro look • sensor • Serious Cinema • stereo audio • Super 16mm • test footage • uncompressed frame • video camera • XLR

CONTRIBUTOR

Simon Perkins
08 APRIL 2013

Les Blank and his Documentary Films

"One of the great living documentary makers of the modern day, Les Blank joins BYOD. After fifty years making incredible docs that showcase the human spirit through art, struggle and humor, Les Blank has a wealth of knowledge to share with Ondi and Vlad.

Mr. Blank takes us through his early days and his decision to pick up the camera, his jump to film making and dealing with subjects on the outside of society, to dealing with artists to find the human spirit. He spares few details along the way and let's us in on his life–threatening filming Herzog, from the jungle of South America on 'Burden of Dreams,' to filming the director famously eating his own shoe. Mr. Blank is still a brilliant artist and illuminating guide through the history of doc making."

(TheLip.tv)

"An American Treasure and Living Legend Les Blank and his Documentary Films", Episode 14 : BYOD: Bring Your Own Doc, Hosted By Ondi Timoner and Vladimir Radovanov for TheLip.tv.

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CONTRIBUTOR

Simon Perkins
28 DECEMBER 2012

Influential American experimental cinema: Meshes of the Afternoon

"Meshes of the Afternoon is one of the most influential works in American experimental cinema. A non–narrative work, it has been identified as a key example of the 'trance film,' in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open–ended and interrupted. Deren explained that she wanted 'to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately.'

Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant–garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe (where he used the surname Hackenschmied) before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots. Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant–garde cinema in the 1940s and the early 1950s."

(MoMA, 2004)

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999.

Maya Deren (1943). "Meshes of the Afternoon", 16mm film, black and white, silent, 14 min. Acquired from the Artist.

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16mm1943 • Alexander Hackenschmied • Alexander Hammid • American cinemaavant-garde cinemablack and whiteBolexcinemacinematic devicescloakdeathdream • dream world • dreamlike qualityeditingexperimental cinemaexperimental film • experimental filmmaker • filmfilm pioneerfilmmakerflowerFreudianindependent cinemainfluential directorinfluential worksKenneth Angerkeyknife • matte • Maya Deren • Meshes of the Afternoon • mirrorMoMA • New American Cinema • non-narrativeopen-endedpersonal filmrecurring ideasrepetitionrhythmscreen-mediated virtual spaceseminalsilent filmstaircaseStan Brakhagesurrealist cinemasymbolic meaningsymbolism • Teiji Ito • tranceunconscious desires • unconscious meaning • women in filmwomen in historywordless

CONTRIBUTOR

Simon Perkins
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