Film––History And Criticism
On the eve of Signs of Empire, his current show at the New Museum, the British artist and filmmaker elaborates on how philosophy and the history of cinema have influenced his practice.
A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.
Disastrous screenings, Nam June Paik’s meeting with Bill Clinton, and time spent as a dog.
Ghost stories, paganism, the blues, and silent cinema are just some of the fixations of two authors known for novels steeped in history.
With I Had Nowhere to Go, director Douglas Gordon brings the diary of filmmaker and poet Jonas Mekas into contact with our own reveries.
Accurately described as a kino-essay by its maker, Notfilm is about Samuel Beckett’s Film, starring Buster Keaton, which Lipman restored digitally from the 1964 original.
On the second anniversary of the day Hurricane Sandy made landfall in New York, Klaus Biesenbach, the director of MoMA PS1, posted an image of the Statue of Liberty overrun by a tidal wave from the disaster movie The Day After Tomorrow to his Instagram, writing: “2 years ago #Sandy hit making clear how vulnerable the city is.”
Peter Hutton was an American filmmaker who spent many years of his youth at sea in the US Merchant Marine. His celebrated films, widely acclaimed for their luminous integrity, blurred the divide between still photography and cinema.
“She wasn’t loved, so she didn’t know how to give love.”
“I’m thinking about how we experience, or try to experience, infinite space and time through the most finite, basic methods.”
That summer, that hot Roman summer afternoon, I see you sitting on the curb, waiting for the door to open, & seeing all those movies, yes, that hot Roman summer day.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Pereda, a prolific minimalist, and Naranjo, known for his highly stylized portraits of disaffected youth, discuss their divergent styles, practices, and their shared “exile” from their native Mexico.
James Benning’s Twenty Cigarettes blows smoke in the face of typical filmic portraiture. Colin Beckett explores the many dimensions of the film and its slippery subjects.
As the following dialogue will make clear, I’m a stone fan of Geoff Dyer, the mid-career British author who is our leading master of the undefinable memoir-essay-perambulation on diverse topics: jazz, D. H. Lawrence, photography, travel, drugs, sex, etcetera.
Craig Hubert sits down with Jason Zinoman to discuss horror films’ capacity to enthrall, terrify, and addict audiences.
