dimanche 17 février 2019

Haven on earth !

Mangchi is for the children, but this video sure ain’t. There are things in this life that you can’t un-see, so proceed only if you’re ready to enter the violent vault that is our mangled Mangchi madness! Who’s this mysterious character that comes through the slum in a conundrum? Follow and find out as he’s awakened on a VHS vision quest which takes him through the cities and slums of a nameless country. Running wild on a reckless journey wielding a gun and a hammer, this video has everything including a zombie boxer with gun-gloves! Does it make sense? Hell no! But who cares about that- what makes sense is for you to watch this as soon as possible and witness the madness that makes The Raid and Oldboy look like romantic comedies,showing that the only thing that’s madder than Mad Max is a Mangchi. Use it.

vendredi 15 février 2019

In 1939, 20,000 Americans rallied in New York's Madison Square Garden to celebrate the rise of Nazism -- an event largely forgotten from U.S. history. A NIGHT AT THE GARDEN, made entirely from archival footage filmed that night, transports audiences to this chilling gathering and shines a light on the power of demagoguery and anti-Semitism in the United States.

Directed by Marshall Curry

See more from Field of Vision here: fieldofvision.org

For more on the rally, read a Q&A with Marshall Curry here:


mardi 12 février 2019

dimanche 10 février 2019

White Trash: The 400-Year History of Class in America

samedi 9 février 2019

Bruce Elder, Crack, Brutal, Grief (Excerpt) from Collectif Jeune Cinema on Vimeo.

Le film Crack, Brutal, Grief puissant et à l’état brut, est un prolongement impressionnant des obsessions de M. R. Bruce Elder avec l’histoire, la culture des médias, la psychologie, la technologie et la cruauté présente dans la nature. Le film est littéralement et métaphoriquement un cri primal. La ‘banalisation’ de la souffrance présente dans le Web soulevant de plus en plus ma colère, j’ai décidé de faire un film de compilation n’utilisant que du matériel extrait du Web qui redonnerait aux images dégradantes que j’y ai trouvées l’intégrale dignité de leur horreur. B. Elder
“Create Your Own World!” is a motto of visionary artists. We all enjoy escaping into, and journeying within, fictional realms. Some aspire to create their own unique artistic worlds. Fictional Worlds, intended for all readers who love literature and film, and especially for writers, filmmakers, and videogame designers, points at new ways of navigating, exploring, and creating entrancing fictional universes. This book’s promise is to make its readers more confident fictional world travelers and compelling storytellers. A holistic and evolutionary study of narrative from ancient rituals, myths and fairytales to the current day, this book blends a creative and intellectual approach to writing. The themes of journey, the wonderworld, quest for knowledge, symbolic death-rebirth, conflict resolution, family, and community are at the core of this inquiry into the nature of narrative, its politics and poetics. Teaching nuts and bolts of writing fiction, this book connects the “cultural” dots in the trajectory of the dramatic arc, elucidating the power of storytelling. With Odysseus as a guide, Fictional Worlds is a journey through the landscape of narrative traditions, emerging practices and artistic debates. The four books of this volume explore key genres such as action-adventure, drama, mystery, and comedy.

“This brilliant book is far more than a screenwriting manual. Ranging across the globe and throughout history we have here a dazzling survey of the intellectual foundations and possibilities of the cinema. This is must-reading for anyone who is interested in how and, more importantly, why we tell stories on screen.” –– David Desser, author of Eros plus Massacre: An Introduction to the Japanese New Wave Cinema; co-author of American Jewish Filmmakers

“A new theory of narrative, which I find both convincing and uplifting. Illuminating and useful anthropological theory of genres. Terrific choice of examples, as well as the analysis. ‘Dos and Don’ts: Creative Solutions for the Formulaic Plot’ will be immensely helpful to practitioners…. Among interesting ideas: the murder mystery—as tragedy in reverse! And the role of film noir… And ‘Ulysses as a Peter Pan for grownups’!! — I love it!” –– Linda Hutcheon, Distinguished Professor Emeritus, University of Toronto, author of A Poetics of Postmodernism, The Politics of Postmodernism, and A Theory of Parody: The Teachings of Twentieth-Century Art Forms

“An innovative approach to teaching screenwriting, based in original scholarship of real importance. The book’s ideas are of impressive originality and practicality, and expounded with exemplary clarity. Dr. Alexander does a splendid job making a case for the new and more productive understanding of genre. The book features an elegant commentary on the distinction between film as ritual and ceremony. There is much to recommend this fine volume, the writing is generally elegant. The chapter on mystery is so brilliant that it alone would make this book worthy of a semester’s study.” –– R. Bruce Elder, filmmaker; author of Harmony and Dissent: Film and Avant-Garde Art Movements, and DADA, Surrealism and the Cinematic Effect

“There's much I admire about Fictional Worlds, starting with the core project of bridging between narrative theory, anthropological perspectives on myth and ritual, and work in screen studies. I have never seen the books addressing Joseph Campbell's ‘Hero's Journey’ with relation to screenwriting in the exhaustive detail and with the nuance that Alexander deploys here, and with such a rich array of examples. What I admire is Alexander's insistence on historical and cultural specificity, even while tracing connections in the kinds of stories that have emerged across times and cultures.” –– Henry Jenkins, Professor, University of Southern California; author of Convergence Culture: Where Old and New Media Collide

Director: R. Bruce Elder 
Breathtaking in its techniques, rhapsodic in its passion, and encyclopedia in its scope, the film traces the long fall from paradise into modern barbarism.

Metropolitan Museum of Art curator Henry Geldzahler reflects on the 1960s
pop art scene in New York.

Who Gets To Call It Art? from Peter Rosen Productions on Vimeo.

it means y'have to click on the linky thing to be taken there
easy as fuck
and btw, nobody's really sorry, its an expression

vendredi 8 février 2019