Dark Light (2014) is an essay-film concerned with themes of philosophy, aesthetics and animal. This genre has a potential for enabling viewers to freely cross between discourse and image, language and light. In a somewhat paradoxical move, the aesthetic strategy for Dark Light aims to initially develop a struggle between language and light, confounding a capacity to negotiate between image and text. Yet, coincident with its concerns for animality—both inside and outside ‘us’ humans—the film slows its encounters of language and image through a carefully orchestrated un-tethering of our desire for mastery. Dark Light thus defies closure or narrative suture. With /horse/ as its key motif, its animal-word, it attests to that strange, most uncanny animality of being-human. Composed through seven discrete poetic episodes—Kant, Nietzsche, Heidegger, Agamben, Derrida, Deleuze & Guattari—each episode inflects to the proper of a masculine tradition in Continental Philosophy, broaching a thinking of memory, nature, aesthetics, ethics and the animal, in the spoken languages of German, French and Italian. Another feminine voice acts as a spacing or interval between these episodes—a voice of sexual difference—responding to, countering and encountering the textual traces of the metaphysics of animal being.
Lee’s photos and video installations tell a fantasy tale based on an intermingling of Eastern and Western popular culture and the study of new technologies and how they influence tradition.
The graphics used inevitably refer to the manga tradition, but are mixed with Western aesthetic ideals, thus giving life to transgender, transcultural characters who live in an imaginary world governed by testosterone. Through an exploration of videogame dynamics, intended for a male public, and a fascination with new technologies, the artist analyses aspects of popular culture, globalization and especially femininity in relation to the media. Through her numerous works she demonstrates that the exploitation of the female body is still very much a relevant question.
The video works by Saskia Olde-Wolbers, are haunting and engaging narratives. Slow motion, highly symbolic montages are set against melodramatic voice overs. Made with imagery that is a simplified surrealism, they look as though they were computer generated, however they are intricately constructed and set up with analogue techniques. I think that makes a huge difference to the final aesthetic, especially when you compare works like Placebo and Interloper to Day-Glo, which was computer generated.
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Aside from the engrossing story line, breaking bad is an excellent example of scripting, editing, pacing, setting atmosphere, and viral media.I could paste nearly the whole series as an example but I’ll stick to some screen shots. Unfortunately its hard to find the best examples of editing etc on-line.
I’m also working my way through this pdf which examines film making techniques using breaking bad as an example
It’s pretty interesting that a lot of the things being discussed in this article are very similar to the discussions around hormonal birth control. Towards the end of the article the author does acknowledge this similarity – Is this HIV prevention for men the psychological equivalent to HBC for women? And what sort of issues does that raise?
Is Cosplay a Form of Theatre?
Georges Méliès – A Trip to the Moon
Considered a pioneer of a lot of early film special effects, I love the aesthetic of filming a theatre production with painted sets etc rather than using a more typical location shoot.
Buñuel – Un Chien Andalou
I expected this to be much more heavily surrealist, given the famous sliced eyeball shot, has its moments.