narrative superimposition

the end of la confidential - id' forgotten this - has a ebautiful sue of the superiposition of the brass adn the da listening to guy pearce's calm narration of the hirrific facts behind the nite owl murdres adn the slaughter at the victory motel that had just occured. i can get a screen grab of it when we're done with it.

The Yardbirds- For your love

here's the first comment from a year ago:
like a haiku
ahhh yes The Yardbirds
i love this song
i just cant seem to get
enough of this song

two and three on jody's work

http://fringexhibitions.com/jody/2_index.html

this is an example of three that doesn't work:
http://fringexhibitions.com/jody/3_index.html

these are for the download -
sound might be a good thing -

multiscreen ad system in LA subway

archy from germany was in LA and just wrote me about a canadian-made multimonitor ad system in the new LA subway - which has nothing in it yet ut safety videos. so i should check it out.

Smashing Pumpkins - Rocket 1993

i'm looking for the background for the very narrative use of the monitors - simple but obviously well-thought out - in frost/nixon -- was it ron howard? was it the DP? his name is salvatore iotina- i noticed his careful framing in 'Cinderella Man' - teh camera waaaay in the back of the fight at the garden, so people could remember what it was like to see a boxing match live - and also i think they had early television in that one.
on the other hand. it could be ron howard's influence, since he grew up, literally, on television sets - the first andy griffith shows were when television was still black and white - so it's quite possible he designed this just from his own years on TV. [he was on Happy Days (a role he played from 1974 to 1980]

boys r them - a history of breakthrough/debut films starring boys and prostitutes

risky business is one
"Howard went on to direct several TV movies. His big theatrical break came in 1982 with Night Shift featuring soon-to-be stars, such as Michael Keaton and Shelley Long" - from wikipedia.
boys r us - got me the sale but not being made- though i've forgotten, i need to send it to tina fey and amy - whomever their agents are. amy shiffman could do this, actually.

so - i know there are others, but it suddenly seemed like a trend to me. Klute- though i don't know that that was breakthrough, he was an established director, but it made a star of jane fonda, made her a 'serious ' actress. that's another category for movies starring prostitutes, that it makes stars of the women - or 'loose' women - donna reed in from here to eternity, ingrid bergman of course in notorious -
atlantic city - definitely put susan sarnaon and luois malle ont he americamn map

rosalind schneider's parallax - 3-screen dance 1973/2008

8:30-10PM: PARALLAX. A triptych screen projection by ROSALIND SCHNEIDER. 1973 16mm 21 min. (transferred to digital format) ...

saw this posted to barbara hammer's website and have this feeling i may actually have seen a version fo this somewhere. i was wondering if it was the same person who did the beautiful two-screen piece at the 99 venice bienalle - but that was rosalie something.

ART BASEL 2008: ''Parallax'', a film by Rosalind Schneider

7:30-8:30pm: A Walk “Temps sur temps”
BERLIN 1993-1996 by LESLY HAMILTON
A photographic/audio-visual installation

8:30-10pm: Parallax
A triptych screen projection by ROSALIND SCHNEIDER
1973 16mm 21 min. (transferred to digital format)
Concept, Camera, Editing: Rosalind Schneider
Score: Michael Dreyfuss
Choreography: Edith Stephen
Performance: The Edith Stephen Dance Company



Parallax is a dance film that explores the sensuous flow of the female and male body. Formal relationships achieve a visual extension in space through concave mirror reflection and the juxtaposition of three projections. The dancers separate and come together to abstract each other in strong compositional movement and rich color. Their bodies superimposed in black and white negative and color create a surrealistic environment that defines the synchronous flow within the three screens.

Recipient of the 2008 Women’s Film Preservation Award Grant

"Parallax is at once invitingly sensual and conceptually arresting." -Alan M. Kriegsman, The Washington Post

"Pictorially similar to an enormous fresco, Parallax moves its characters through a dance without time and perhaps without end." Anna Canepa, -Art Workers Newsletter

"Parallax is like a Reubens or a Renoir, it is so explicitly voluptuous."
-Holly Beye, Woodstock Times

"It is a beautiful film." -Jonas Mekas, The Village Voice

All MBC Art Basel events are complimentary admission.
Sunday, December 07, 2008 at 7:30 PM
Miami Beach Cinematheque
512 Espanola Way
Miami Beach, FL 33139
Phone: (305) 673-4567
Website: www.mbcinema.com
E-Mail: info@mbcinema.com
Map & Directions

venice bienalle 1999

this was ten years ago - obviously. need to get all my material together on this, i guess-
it was hugely influential on me, a cornucopia of multichannel works.
deiter roth's piece.
and here's an article on it - just being announced, to keep me remembering this.
FindArticles - 1999 Venice Biennale on Track
Art in America, Feb, 1999
just being announced.

i'm also wondering how to link facebook with a blog- sophie showed me something and now i can't remember what it was...

opening night

this review of a dutch production in the NEW FORM - which i have yet to really write about - which combines live videotape and camera work and projection with seeing the actors onstage -

here's a small clip of it from the BAM sight - Opening Night

glimpse memory - the real Memento & the Breakdown of Now

"Since my injury, I can't make new memories... everything fades. If we talk for too long, I'll forget how we started, and the next time we meet, I'm not going to remember ever having this conversation." Memento (2000) Christopher Nolan, Dir.


"He had lost the ability to form new memories," says the article. "For the next 55 years, each time he met a friend, each time he ate a meal, each time he walked in the woods, it was as if for the first time." The NYTimes, Dec. 6, 2008


an interesting thing - the fourth most emailed article today in the times is this obit on a man who had no short-term memory at all. The story is inherently fascinating - due to a slip of the knife on some brain surgery, took on the condition that we all know best from the movie which made a hit director of Nolan (later to do Dark Knight).

The research scientist who worked with H.M. - Dr. Brenda Millner - studied him for the next five decades, and based on this, transformed how scientists understood memory to work.

but what struck me was: why is this the fourth most emailed article?

It seems H.M. is, indeed, the best known subject of the vast neurobiology community that lives online, and his death at the age of 82 was important news. And perhaps also the revelation of the real story behind someone all the scientists had known merely by his initials: "H.M."

no one mentioned the film Memento.

but why did i, too, instantly click on this story? and then lose all interest in what i had been searching for before? and then click on another link, below it, about another amnesia victim who lost all memory of who he was some six years after he'd left his job in Bdlg. 7 early - and thus walked through the world trade towers fifteen minutes before they were hit?

and then it occurred to me: this forgetting everything the moment it's happened, this having every single moment be new, be Now - is this glimpse memory? the fractured, fleeting experience of tidbit after disconnected tidbit that we experience as we float through the web? do we not, in a way, envy him?

and i'm positing that we're fascinated by someone who remembers nothing, who experiences each encounter as if for the first time, because this is, in fact, the new standard for our own sense of entertainment.

Memento, the film, was an example of what I call The Breakdown of Now - ripping up the single, chronological Now of a film to use this perspective as part of the story.

the random-access approach to memory strikes me as, somehow, being very glimpse, very much where we are right now.

THINK! - Two Things At Once (UK) - a lesson in multi-audio!

this actually is very well-done, and demonstrates why the audio is usually single channel no matter how layered the video may be.

i'll have to find out who did this series of british commercials -

THINK! - Split Screen

this is a rather blunt use of the most commonly used form of split screen in the history of cinema- the two person phone call.

oddly enough, there's a similar use of person in distress/cellphone used in this work-in-progress which is a nine-grid piece by sarah atkinson
http://www.crossedlines.net/DOCUMENT_SMALL.mov

How to Apply Cloning, Split Screen, and Picture-in-Picture Effects (in Windows Movie Maker)

and here's another one! oh no, i'm getting lost in 'how to do split screen in outube land'

Videomaker's Split-Screen Effect 101

all right, this is rtuly silly - but in the interest of completion, here it is.

hug the world

the layer as builtin

youtube now offers annotation
http://www.youtube.com/t/annotations_about
so that you can post your own comments and balloons and so on.

STORY IDEA: a version of nabakov's pale fire- an application of that technique, where the story is really in the annotation -

let me find one of these.

Batman Match-Edit vs. The Dark Knight Trailer (Split-Screen)

here's an example of two horizontal rectangles, which i always find to be an elegant solution. above and below - in this case two films of Batman using the Joker story. i.e. the same but different

multimedia is too weak a word

http://www.experimentalintermedia.org/

intermedia seems to refer to something that this group does -
david berridge had mentioned this, but it still doesn't seem liek the right word.