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cinema
m e d i a
a
r t
m u s i c |
Historical
Markers of the Modern Soundtrack
Contemporary
Traces of the Modern Soundtrack
20th
Century Music within the Cinema
Folk
Rock & Pop within the Cinema
An
Unsavoury History of Exploitation
Preliminary
Concepts in Japanese Animation |
Dissolving
& Reconstituting Narrative Cinema
Part 1 - Experimentatal Cinema
| 1 |
The Man Who Lies |
1968 – Alain Robbe Grillet (France) |
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The New Novel & Truth |
Profile – Alain Robbe-Grillet; moebius
narrative structure; foregrounding the act of narration;
photographic falsehood |
| 2 |
Silence & Cry |
1968 - Miklos Jancso (Hungary) |
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Melodic linearity & narrational flow |
Profile - Miklos Jancso; camera musicality; orchestration
of space & bodies |
| 3 |
Not Reconciled |
1968 – Jean Marie Straub (Germany) |
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Historical deconstruction |
Profile - Jean-Marie Straub; textual compression &
cycles; political demythologization; anti-texts |
| 4 |
Natalie Granger |
1970 – Margueritte Duras (USA) |
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Non-eventfullness |
Profile - Marguerite Duras; happening & not-happening;
action & description; narrative threads |
| 5 |
The Pitsburgh Trilogy |
1971 – Stan Brakhage (USA) |
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Abstraction |
Profile - Stan Brakhage; pictorial depiction;
narrative abstraction; considerations on viewing |
| 6 |
Querelle |
1982 – Rainer Fassbinder (Germany) |
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Theatre |
Plasticity; art direction / production design
/ set decoration; mise-en-scene; scenes |
| 7 |
An Independent Life |
1989 - Vitaly Kanevsky (Russia) |
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Nomadic narrative & decentralization |
Profile - Vitaly Kanevsky; oral history &
folk music; biography & memory |
| 8 |
From the East |
1995 - Chantal Ackerman (Belgium) |
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Statsis and temporality |
Profile - Chantal Ackerman; documentary timing; actor/camera
intersection |
Part
2- Exploitation Cinema
| 10 |
The Private Lives of Adam & Eve |
1958 - Albert Zugsmith (USA) |
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Theatrical rupture |
Space between film & viewer; rupture types; rupture
intentions; intentional rupture |
| 11 |
Glen or Glenda
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1958 - Ed Wood Jr. (USA) |
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Personal & independent cinema |
Expression; statement; auteurism; cultural validity;
the self |
| 12 |
Satan's Bed |
1968 - Roberta & Michael Finlay (USA) |
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Experimentalism & radicalism |
Terms & definitions; renegade cinema; brute narratives;
illogicality; exploitation |
| 13 |
Heat |
1971 - Paul Morrissey (USA) |
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Performance |
Paul Morrissey & the Warhol factory; Morrissey's
performers; performance & narrative |
| 14 |
Demon Seed |
1978 - Donald Cammel (UK) |
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Rape/revenge subtexts |
Rape/revenge thematic presence; historical developments;
ideology |
| 15 |
Flashdance |
1983 – Adrian Lyne (USA) |
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Video clip textuality |
Video clips versus the cinema; death of the Hollywood
musical; developments in choreography; developments
in montage; narrative fracture |
| 16 |
Pee Wee's Big Adventure |
1995 – Tim Burton (USA) |
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Icons & cliches |
Symbolic codes; semiotics/semiology in the cinema; saturation |
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Complete
contents of this page © Philip Brophy |
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