tag:blogger.com,1999:blog-6079214811279438772024-03-05T19:04:34.617+00:00L'Institute ZoomNews and reports on the Institute's gradual downfall, delivered in real-timeMr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.comBlogger237125tag:blogger.com,1999:blog-607921481127943877.post-46110640414613923232023-06-13T17:40:00.000+01:002023-06-13T17:40:07.043+01:00Unfound Peoples Videotechnic on Substack<p style="text-align: justify;">Mr Cole's roaming absurdist film academy, Unfound Peoples Videotechnic - essentially a splinter organisation from the Institute proper - is currently delivering a free, weekly program of esoteric filmmaking knowledge via the Substack newsletter platform.</p><p style="text-align: justify;">You can subscribe for free here:</p><p style="text-align: justify;"><a href="https://unfoundvideo.substack.com/">https://unfoundvideo.substack.com/</a></p><p style="text-align: justify;">The current program is called Advanced Amateury: Clumsy Loving in the Age of Competent Content. Future programs, should they be forthcoming, are likely to cover sound design, image rot, and other essential aspects of filmmaking, in a manner intended more to inspire than to instruct.</p><p style="text-align: justify;">Here is an excerpt from <a href="https://unfoundvideo.substack.com/p/amat01-introduction-to-beginnerism">lesson one</a> of Advanced Amateury:</p><p style="text-align: justify;">It’s a slick century. Everybody’s producing ‘content.’ Pros and amateurs fetishise clean edges and stock affectations. The language of authenticity has been shrink-wrapped, digitised, and delivered by 3D fax machine. </p><p style="text-align: justify;">Amateurism is often defined as a lack of professionalism. But even the non-professional defaults to professionalised tendencies. Amateurism may be defined by its lack of infrastructure. But way out beyond the movie industry, the artist-filmmaker is tempted to toil towards the freshly-showered images of Hollywood and Indiewood.</p><p style="text-align: justify;">Couldn’t we reveal more by channelling our inner shitness? Aren’t we wasting valuable energy trying to cover up the cracks in our reality? The misalignments in our imagination?</p><p style="text-align: justify;">To be crap requires the power to resist. In these conditions, it takes courage to allow your ineptitude to show. But might the filmmaker go further and cultivate a practice of worse-ness? Embrace the messy principles of love and humility over profit (of whatever kind) and vanity?</p><p style="text-align: justify;">A bold word or phrase indicates that an instruction of the same name and concept will appear later in this module.</p><p style="text-align: justify;">Not to fake it/slum it. But to advance (or perhaps settle in to) a working appreciation of all that is:</p><p></p><ul style="text-align: left;"><li style="text-align: justify;">vulnerable</li><li style="text-align: justify;">naive</li><li style="text-align: justify;">inept</li><li style="text-align: justify;">broken</li><li style="text-align: justify;">broke</li><li style="text-align: justify;">poor</li><li style="text-align: justify;">wrong</li><li style="text-align: justify;">inconsistent</li><li style="text-align: justify;">incoherent, and</li><li style="text-align: justify;">bad taste</li></ul><p></p><p style="text-align: justify;">about your practice, your crew, your resources, and your environment.</p><p style="text-align: justify;">What tools are available to the sincere amateur-filmmaker? Or more precisely, how can this figure make a tool of anything and everything? What techniques are available for drawing out the messy business of love, tenderness, and symbiosis in filmmaking?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwCGoC6Hzc2QvltYXKhdjvp_d1ZtSGpRnZIJl1S6xUfnmgcvNpqyv09Anc5_LjJ2s1ZIM0GD441Ep1RxBdPs-D7iP42WvmkiuzEJEnd8pNux1LVcbUN5KHnvHE4ipnxY3RdI2lAfMPhh_Q8hYXmgTDqRCyrg1qRTHiC4TZ8mEo2xg-KvymUAkRzFF/s1181/UPV%20Logo%20v01%20twitter%20CAEBE7%20bg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1181" data-original-width="1181" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwCGoC6Hzc2QvltYXKhdjvp_d1ZtSGpRnZIJl1S6xUfnmgcvNpqyv09Anc5_LjJ2s1ZIM0GD441Ep1RxBdPs-D7iP42WvmkiuzEJEnd8pNux1LVcbUN5KHnvHE4ipnxY3RdI2lAfMPhh_Q8hYXmgTDqRCyrg1qRTHiC4TZ8mEo2xg-KvymUAkRzFF/s320/UPV%20Logo%20v01%20twitter%20CAEBE7%20bg.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;">For more details and to subscribe:</div><div class="separator" style="clear: both; text-align: left;"><a href="https://unfoundvideo.substack.com/about">https://unfoundvideo.substack.com/about</a></div>Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-3344952039019844792021-11-14T15:59:00.000+00:002021-11-14T15:59:35.381+00:00The Curse of the Phantom Tympanum in Istanbul and Marseille<p style="text-align: justify;">With the reopening of venues, a backlog of unfulfilled <a href="https://alltheworldsmusicever.com/">UNIVERSAL EAR</a> bookings is unleashed.</p><p style="text-align: justify;">To be precise, two (2) screenings of the latest episode, The Curse of the Phantom Tympanum, will take place next weekend. One in Istanbul, Turkey, and the other in Marseille, France.</p><div style="text-align: justify;"><pr><b>EVENT</b>:<b> </b>UNIVERSAL EAR: The Curse of the Phantom Tympanum at <span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa ht8s03o8 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"><a href="https://istanbulexperimental.com/movies/the-curse-of-the-phantom-tympanum-2/">Istanbul International Experimental Film Festival</a></span></pr></div><div style="text-align: justify;"><pr><b>PROGRAM:</b> Competition: Fresh Air 2</pr></div><div style="text-align: justify;"><b>WHERE</b>: <a href="https://www.peramuseum.org/film/competition-fresh-air-ii/3183/2458">Pera Museum</a>, Asmalı Mescit, Meşrutiyet Cd. No:65, <a href="https://www.google.com/maps/place/Pera+Museum/@41.031816,28.9752003,15z/data=!4m5!3m4!1s0x0:0xd94762797dd716c9!8m2!3d41.031853!4d28.9750708">34430 Beyoğlu/İstanbul</a>, Turkey</div><div style="text-align: justify;"><b>WHEN: </b>Friday 19th November, 2021, 14:00</div><div style="text-align: justify;"><b>COST: </b>25 TL/10 TL</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><pr><b>EVENT</b>:<b> </b><a href="https://alltheworldsmusicever.com/tympanum" target="_blank">UNIVERSAL EAR: The Curse of the Phantom Tympanum</a> at 4th </pr>Marseille Underground Film & Music Festival</div><div><pr><b>PROGRAM: </b>Fréquences visuelles</pr></div><div><b>WHERE</b>: <a href="https://www.videodrome2.fr/programme-2-frequences-visuelles-muff-4/">Videodrome 2</a>, 49 Cr Julien, <a href="https://www.google.com/maps/place/Bar+Cin%C3%A9ma+Le+Videodrome+2/@43.2939644,5.3835288,15z/data=!4m2!3m1!1s0x0:0x737f9fb252411c07?sa=X&ved=2ahUKEwjftqX-mpj0AhX5QfEDHfBwDMUQ_BJ6BAhjEAU">13006 Marseille</a>, France</div><span class="w8qArf"></span><div><b>WHEN: Sunday 21st November</b>, 2021, 19:00</div><div><b>COST: </b>Free with €5 membership to Videodrome 2 cinematheque.</div><div><b>NOTES:</b> <a href="https://www.facebook.com/events/464197414917183/">Facebook Event</a></div><div><br /></div></div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3cdQZsg_wR23Xw7REA4Ozqsl6lHxWvdv2rwbloXIb6ZWJYocg4VMsZLHOm-1yWs4VQVCzzPW61l9ZAWkr3bItSs9cenMaOIqDG0PoGX0XXpopQN89mdu_JxZgRuNA0OdtimH0dAVNRg/s1440/Curse+of+the+Phantom+Tympanum+still+01.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3cdQZsg_wR23Xw7REA4Ozqsl6lHxWvdv2rwbloXIb6ZWJYocg4VMsZLHOm-1yWs4VQVCzzPW61l9ZAWkr3bItSs9cenMaOIqDG0PoGX0XXpopQN89mdu_JxZgRuNA0OdtimH0dAVNRg/w400-h300/Curse+of+the+Phantom+Tympanum+still+01.jpg" width="400" /></a></div>
<p style="text-align: justify;"><iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/326067353?color=FFFFFF&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe></p>Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-74375052586243296652021-08-12T11:02:00.001+01:002021-08-12T11:03:02.058+01:00Letters from the Ends of the World in Sarajevo<p style="text-align: justify;">Mr Cole has contributed a cinematic letter from quarantine to a new omnibus feature film from the Bistrik7 collective - and it will premiere as it opens the Sarajevo Film Festival.</p><p style="text-align: justify;">Sarajevo is a particularly beloved city to the filmmakers of Bistrik7, as they are united in having graduated as the first generation from Béla Tarr's film.factory in that very city. Mr Cole has also had the pleasure and the privilege of screening It's Nick's Birthday and Amateri at the festival in previous years.</p><p style="text-align: justify;">Mr Cole will be in town to present the movie with his colleagues on the opening night.</p><p style="text-align: justify;">The film is called <a href="https://www.bistrikseven.com/letters-from-the-ends-of-the-world" target="_blank">Letters from the Ends of the World</a>.</p><div style="text-align: justify;"><pr><b>EVENT</b>:<b> </b><a href="https://tickets.sff.ba/films/391" target="_blank">Letters from the Ends of the World</a> at 27th Sarajevo Film Festival.</pr></div><div style="text-align: justify;"><pr><b>PROGRAM: </b>Special Screening (Opening Night Film)</pr></div><div style="text-align: justify;"><pr><br /></pr></div><div style="text-align: justify;"><b>WHERE</b>: <a href="https://www.google.com/maps/place/Sarajevo+Summer+Screen/@43.855256,18.418196,15z/data=!4m2!3m1!1s0x0:0x67561ddbbc50c70a?sa=X&ved=2ahUKEwiH2tSimqvyAhXMUMAKHSL3DJ0Q_BIwG3oECFwQAw" target="_blank">Summer Screen</a>, <span style="text-align: left;">Hamdije Kreševljakovića, Sarajevo 71000, Bosnia & Herzegovina</span></div><div style="text-align: left;"><b>WHEN: </b>Friday 13th August, 2021, 21:15</div><div style="text-align: justify;"><b>COST: </b><span style="text-align: left;">9.00 KM</span></div><div style="text-align: justify;"><b>NOTES:</b> Opening night film. Four filmmakers in attendance, including Mr Cole.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Additional screenings:</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><b>WHERE</b>: <a href="https://kinomeetingpoint.ba/" target="_blank">Meeting Point</a>, <a href="https://www.google.com/maps/place/Kino+Meeting+Point/@43.855709,18.4183559,15z/data=!4m2!3m1!1s0x0:0x8baff86969adef70?sa=X&ved=2ahUKEwijoeaxm6vyAhW0MVkFHahxBAMQ_BIwE3oECFMQBQ" target="_blank">Hamdije Kreševljakovića 13</a>, Sarajevo 71000, Bosnia & Herzegovina</div><div style="text-align: left;"><b>WHEN: </b>Sunday 15th August, 2021, 15:00</div><div><b>COST: </b>6.50 KM, 7.50 KM, 10.00 KM</div><div><span style="text-align: left;"><br /></span></div><div><div><b>WHERE</b>: <a href="https://www.cineplexx.ba/" target="_blank">Cineplexx Sarajevo</a> 1, <a href="https://www.google.com/maps/place/Cineplexx+Sarajevo/@43.856448,18.4025026,17z/data=!3m1!4b1!4m5!3m4!1s0x4758c9a436185053:0x14ab4a8a417fba4a!8m2!3d43.8564442!4d18.4046913" target="_blank">Zmaja od Bosne 4</a>, Sarajevo 71000, Bosnia & Herzegovina</div><div style="text-align: left;"><b>WHEN: </b>Thursday 19th August, 2021, 12:30</div><div><b>COST: </b>7.00 KM, 8.00 KM</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjss0VcsgTmHxEhnq0JpIVAPRWiAvhWH7R_kk_1CBtzEIIT9N24ItKz4UCNCfRsmoPc5ex_dFiaffa-OUR2XYspzGLJqL7UWSjabXNEqQkMpKSYEGmlIhNLjZbujB9gh6RKliD9yt3nWGQ/s1080/WhatsApp+Image+2021-08-04+at+18.57.37.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="756" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjss0VcsgTmHxEhnq0JpIVAPRWiAvhWH7R_kk_1CBtzEIIT9N24ItKz4UCNCfRsmoPc5ex_dFiaffa-OUR2XYspzGLJqL7UWSjabXNEqQkMpKSYEGmlIhNLjZbujB9gh6RKliD9yt3nWGQ/w280-h400/WhatsApp+Image+2021-08-04+at+18.57.37.jpeg" width="280" /></a></div></div></div>Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-86454792186642267802021-06-23T17:33:00.003+01:002021-06-23T17:35:38.947+01:00The Curse of the Phantom Tympanum in Niš<p style="text-align: justify;">The most recent <a href="https://alltheworldsmusicever.com/episodes" target="_blank">UNIVERSAL EAR</a> episode to be resuscitated will breathe again in Niš, Serbia, this weekend. The Curse of the Phantom Tympanum won a hastily-invented audience award at the <a href="https://kinoskop.yolasite.com/" target="_blank">Kinoskop Festival of Analogue Experimental Film</a> in 2019, and is playing in a special 'best of' reconstruction at a real in-person event some 250km to the north-east of the original screening venue.</p><div style="text-align: justify;"><pr><b>EVENT</b>:<b> </b><a href="https://alltheworldsmusicever.com/tympanum" target="_blank">UNIVERSAL EAR: The Curse of the Phantom Tympanum</a> at <span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa ht8s03o8 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto">Niš Cultural Centre</span></pr></div><div style="text-align: justify;"><pr>
<b>PROGRAM: </b>Kinoskop: </pr><span style="text-align: left;">Apsurd, pank & subverzije (Absurd, Punks & Subversives)</span></div><div style="text-align: justify;">
<b> WHERE</b>: <a href="https://www.google.com/maps/place/%D0%9D%D0%B8%D1%88%D0%BA%D0%B8+%D0%BA%D1%83%D0%BB%D1%82%D1%83%D1%80%D0%BD%D0%B8+%D1%86%D0%B5%D0%BD%D1%82%D0%B0%D1%80/@43.3109281,21.8992442,15z/data=!4m5!3m4!1s0x0:0x21a6ac626576cfa5!8m2!3d43.3109281!4d21.8992442" target="_blank">Niški kulturni centar</a>, Small Hall, Stanoja Bunuševca, 18000 Niš, Serbia</div><div style="text-align: justify;">
<b>WHEN: </b>Saturday <span style="text-align: left;">26th and Sunday 27</span>th June, 2021</div><div style="text-align: justify;"><b>COST: </b>Enquire at venue</div><div style="text-align: justify;"><b>NOTES:</b> Please refer to <a href="https://www.facebook.com/analogexperimentalfilmfestival/posts/521569495929644" target="_blank">Kinoskop's Facebook presence</a> for further information & updates.</div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3cdQZsg_wR23Xw7REA4Ozqsl6lHxWvdv2rwbloXIb6ZWJYocg4VMsZLHOm-1yWs4VQVCzzPW61l9ZAWkr3bItSs9cenMaOIqDG0PoGX0XXpopQN89mdu_JxZgRuNA0OdtimH0dAVNRg/s1440/Curse+of+the+Phantom+Tympanum+still+01.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3cdQZsg_wR23Xw7REA4Ozqsl6lHxWvdv2rwbloXIb6ZWJYocg4VMsZLHOm-1yWs4VQVCzzPW61l9ZAWkr3bItSs9cenMaOIqDG0PoGX0XXpopQN89mdu_JxZgRuNA0OdtimH0dAVNRg/w400-h300/Curse+of+the+Phantom+Tympanum+still+01.jpg" width="400" /></a></div><div style="text-align: justify;"><br /></div>
<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/326067353?color=FFFFFF&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe>Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-49587507202423583982020-05-05T12:51:00.000+01:002020-05-05T12:51:26.679+01:00Epizoda ? in a virtual Mayfield <div style="text-align: justify;">
Our daft orphan episode of an unfound cop show <a href="https://zoomcitta.blogspot.com/p/epizoda.html" target="_blank">Epizoda ?</a> is playing as part of Slow Film Festival's online retrospective for 24 hours, until noon tomorrow. The film originally played as part of Mr Cole's exhibition/sideshow during the 2018 edition of this splendid event. Anyway, hurry! The clock is already ticking!</div>
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Here's the link --> <a href="https://slowfilmfestival.com/epizoda">https://slowfilmfestival.com/epizoda</a></div>
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If it doesn't work, you've missed the SFF boat - but a standard web search should find you an alternative viewing platform.</div>
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"Mr Graeme Cole has cornered the cardboard market of sublime lo-fi
effulgence: his films are forever falling apart. And as they crumble so
do the conventions and aspirations of all of the rest of cinema. <em>Epizoda ?</em> (please observe that untethered question mark) is as destructive as the rest of his oeuvre."</div>
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com1tag:blogger.com,1999:blog-607921481127943877.post-24852849456175166602020-05-04T22:44:00.000+01:002020-05-05T11:41:14.069+01:00The Curse of the Phantom Tympanum briefly available to watch online<div style="text-align: justify;">
Our fine colleagues and overlords at the <a href="http://www.bandits-mages.com/" target="_blank">Bandits-Mages</a> organisation have seen fit to make an online copy of <a href="https://alltheworldsmusicever.com/tympanum" target="_blank">UNIVERSAL EAR: The Curse of the Phantom Tympanum</a> available as a salve for the general public during the coronavirus lockdown. It will be public for just two weeks. One of those weeks has already passed. The video is posted below this text; if you can't see it there, you've missed the boat.</div>
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At the same time, the good people at the Moving Image Artists organisation have included UNIVERSAL EAR: A Flea Orchestra In Your Ear in their online MIA Screens series. It features a <a href="https://movingimageartists.co.uk/2020/04/24/mia-screens-graeme-cole/" target="_blank">new written introduction by Mr Cole</a>.</div>
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These events coincide with the ten year anniversary of the first production of UNIVERSAL EAR in <a href="https://zoomcitta.blogspot.com/2010/05/universal-earlog-day-1_04.html" target="_blank">May 2010</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsInIXBcp10O1xl255G0iUQBBoYhIEEv09XBW89cXeGq-T2RVrcrXLRPDwx8RQzOWQrOHVioEjhuvYAqwwSFBc7T1mLN7TQaDCtNO6BWGoSkDj66ScQUpQ57pgvRvS4UkMWS6L29VY56E/s1600/Curse+of+the+Phantom+Tympanum+still+01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsInIXBcp10O1xl255G0iUQBBoYhIEEv09XBW89cXeGq-T2RVrcrXLRPDwx8RQzOWQrOHVioEjhuvYAqwwSFBc7T1mLN7TQaDCtNO6BWGoSkDj66ScQUpQ57pgvRvS4UkMWS6L29VY56E/s400/Curse+of+the+Phantom+Tympanum+still+01.jpg" width="400" /></a></div>
Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-6181364861781721552020-02-23T21:33:00.000+00:002020-02-23T21:33:18.630+00:00Two Bosnian films, Murmurs and Epizoda ?, now online<div style="text-align: justify;">
The online availability of two of the Institute's Bosnian-made pictures has shifted dramatically in the past few weeks.</div>
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<a href="https://vimeo.com/174568861" target="_blank">Epizoda ? can now be watched for free on Vimeo</a>. This absurdist detective show pilot was written and directed by Graeme Cole at Béla Tarr's <a href="https://moreliafilmfest.com/en/film-factory-bela-tarr-dirige-doctorado-en-cine/" target="_blank">film.factory</a>, and was previously available for VoD on Tao Films, an art film and 'slow cinema' platform, which is currently enjoying a creative pause.</div>
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<a href="https://vimeo.com/ondemand/murmurs" target="_blank">Murmurs is available online</a> for the first time, to rent or buy on Vimeo On Demand. The ASMR-tinged experimental feature film was also written and directed by Mr Cole at film.factory, and just like Epizoda ?, features Elma Selman in a leading role. The male lead is the Institute's regular player, Stewart Lockwood.</div>
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="225" src="https://player.vimeo.com/video/391268799?color=EDAFED&byline=0&portrait=0" width="400"></iframe><br /></div>
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<b>Epizoda ?</b><br />
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Video | 39'09" | BiH/UK | 2016<br />
Cast<br />
Vladimir Kajević<br />
Elma Selman<br />
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A TV detective who's lost the plot drives aimlessly around the city. Negotiating time and space seem achievable next to solving a murder in a factory, the only witness a robot with the ability to get under the skin with its only two programmed lines: “That interests me” and “What are you afraid of?”<br />
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Murmurs</b><br />
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Video | 72'42" | BiH/UK | 2015-2020<br />
Cast<br />
Elma Selman<br />
Stewart Lockwood<br />
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Hana is an ASMR artist, creating intimate videos for millions of online followers – and she hasn’t left her house for 18 months. Ed is a remote security image analyst, and Hana’s first online hook-up. When Ed arrives at Hana’s home, they begin to nurture an awkward togetherness. But for these lonely weirdos, building trust might take more than endless days of cooking and fucking.
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-70071878737368098372019-12-07T22:56:00.000+00:002019-12-07T22:56:00.676+00:00The Curse of the Phantom Tympanum & From The Ground To The Stars in Dhaka<div style="text-align: justify;">
UNIVERSAL EAR: <a href="http://alltheworldsmusicever.com/tympanum" target="_blank">The Curse of the Phantom Tympanum</a> will finally get out of Europe for a screening at the International Short & Independent Film Festival in Dhaka, Bangladesh. The Institute's friend and colleague Ghazi Alqudcy will present his experiences at <a href="https://www.indiewire.com/2016/12/bela-tarr-interview-marrakech-film-school-1201762173/" target="_blank">Béla Tarr's film.factory</a> along with a program of films from <a href="http://www.bistrikseven.com/" target="_blank">Bistrik7</a>, the artist collective formed by the school's first generation of graduates. Along with <i>Curse</i>, Mr Cole has contributed <b>From The Ground To The Stars</b> - his episode of film.factory's <a href="https://vimeo.com/103222574" target="_blank">Lost In Bosnia</a> omnibus feature.</div>
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<b>EVENT</b>:<b> </b>UNIVERSAL EAR: The Curse of the Phantom Tympanum and From The Ground To The Stars at <a href="http://isiff-bd.org/" target="_blank"><span id="goog_287310679"></span>International Short & Independent Film Festival in Dhaka<span id="goog_287310680"></span></a><br />
<b>PROGRAM: </b><a href="http://isiff-bd.org/wp-content/uploads/2019/12/01-Central-Public-Library.pdf" target="_blank">Introduction of film.factory + Film Screening</a></pr></div>
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<b> WHERE</b>: Central Public Library, Dhaka, Bangladesh</div>
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<b>WHEN: </b>Sunday 8th December, 2019, 15.00</div>
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<b>COST: </b>FREE<br />
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<tr><td class="tr-caption" style="text-align: center;">The Curse of the Phantom Tympanum</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">From The Ground To The Stars</td></tr>
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-24006062853210074562019-11-27T08:21:00.000+00:002019-11-27T08:21:06.100+00:00The Curse of the Phantom Tympanum in Belgrade<div style="text-align: justify;">
UNIVERSAL EAR:<a href="http://alltheworldsmusicever.com/tympanum" target="_blank">The Curse of the Phantom Tympanum</a> will make its next festival appearance at the inaugural and - if we might - in-AWE-gural <a href="https://kinoskop.yolasite.com/" target="_blank">Kinoskop Festival of Analogue Experimental Film</a> in Belgrade, Serbia, this weekend. The ethos and programming looks astonishing, and promises:<br />
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shades of mysticism and psychodrama of
Maya Deren, dealing with esoteric "thingamijigs" and alchemy of Kenneth
Anger, magically mundane secret diaries of Jonas Mekas, but rest assured
this will be no sheer nostalgia trip... Selection will show
documentaries on subjects which haven't been touched upon in the history
of cinema and witness peculiar deconstructions of sci-fi and horror
genre through the creative lens and poetics of experimental film, take a
trip inside nocturnal visions of the non-human world, oneirically
sabotage H/B/ollywood on our found footage safari and take on you on a
rollercoaster ride in the realms of non-commercial, non-compromising,
personal cinema.</blockquote>
Sadly, the Institute will not have any agents in town for the festival, but we truly hope it thrives so that we can attend and imbibe the visual broth in future years.</div>
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<b>EVENT</b>:<b> </b><a href="https://alltheworldsmusicever.com/tympanum" target="_blank">UNIVERSAL EAR: The Curse of the Phantom Tympanum</a> at Kinoskop 1st International Festival of Analogue Experimental Cinema and Audio-visual Performance<br />
<b>PROGRAM: </b><a href="https://kinoskop.yolasite.com/2019.php" target="_blank">Selection IV : Film Deconstruction</a></pr></div>
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<b> WHERE</b>: <a href="https://www.google.com/maps/place/Kvaka+22/@44.8088808,20.4808991,17z/data=!3m1!4b1!4m5!3m4!1s0x475a7a9f30bf8bdb:0x4b637bd5070b724e!8m2!3d44.8088808!4d20.4830878" target="_blank">Kvaka 22</a>, Ruzveltova 39, Belgrade, Serbia</div>
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<b>WHEN: </b>Saturday 30th November, 2019, 20.00</div>
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<b>COST: </b>FREE<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-70502846454790086182019-04-21T18:17:00.001+01:002019-04-21T18:23:29.350+01:00The Curse of the Phantom Tympanum in Lisbon<div style="text-align: justify;">
The latest episode of our pre-constructed adventure serial of the future, UNIVERSAL EAR, will receive its world (festival) premiere at IndieLisboa International Festival of Independent Cinema this May. <a href="http://alltheworldsmusicever.com/tympanum" target="_blank">The Curse of the Phantom Tympanum</a> also played in a temporary cinema during <a href="https://zoomcitta.blogspot.com/2018/11/the-curse-of-phantom-tympanum-book-film.html" target="_blank">Mr Cole's solo exhibition at Bandits-Mages</a> in November. It marks the Institute's return to IndieLisboa ten years after <a href="https://zoomcitta.blogspot.com/2009/05/its-nicks-birthday-honoured-at.html" target="_blank">It's Nick's Birthday</a> received a Special Mention from the Jury at the 2009 edition - although a tight connection has been maintained between the festival and the Institute in the interim, through our presence on the <a href="http://www.jigsawlounge.co.uk/film/reviews/indie13shorts/" target="_blank">prize jury</a> in 2013 and attendance in support of colleague <a href="http://www.jigsawlounge.co.uk/film/reviews/indie13shorts/" target="_blank">Aleksandra Niemczyk's</a> work in 2016 and 2018. From wherever you're sat, it's a good festival.<br />
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Synopsis: Time-travelling record producer Harley Byrne crash-lands in a virtual reality heritage theme park in 22nd-century France. Corrupt holograms, cyborg saints, and sentient statues haunt an absurdist Super-8 universe, digitally re-colourized for your pleasure!</div>
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<b>EVENT</b>:<b> </b><a href="https://indielisboa.com/en/movies/the-curse-of-the-phantom-tympanum/" target="_blank">UNIVERSAL EAR: The Curse of the Phantom Tympanum</a> at IndieLisboa '19.<br />
<b>PROGRAM: </b><a href="https://indielisboa.com/en/screening/international-competition-shorts-1/" target="_blank">International Shorts</a></pr></div>
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<b> WHERE</b>: <a href="https://www.google.co.uk/maps/place/Culturgest/@38.7409394,-9.1448136,17z/data=!3m1!4b1!4m5!3m4!1s0xd1933a706c9d109:0xe701a19fb84b38e!8m2!3d38.7409394!4d-9.1426249" target="_blank">Culturgest - Pequeno Auditório</a>, Edifício-sede da Caixa Geral de Depósitos, Rua Arco do Cego, 50, 1000–300 Lisbon</div>
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<b>WHEN: </b>Sunday 5th May, 2019, 21.45 & Wednesday 8th May, 2019, 17.00</div>
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<b>COST:</b> <a href="https://indielisboa.com/en/screening/international-competition-shorts-1/#indie-tickets" target="_blank">€4.50</a><br />
<b>NOTES: </b>Writer/Director Graeme Cole will be in attendance for the Sunday screening (and potential intro/Q&A duty).<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-9385479424548805512019-02-13T07:57:00.000+00:002019-02-13T08:06:27.900+00:00Epizoda ? is now online via tao films<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="https://player.vimeo.com/video/314845336?color=000000&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<span style="text-align: justify;">The Institute's 2016 absurdist detective movie - </span><a href="https://zoomcitta.blogspot.com/p/epizoda.html" style="text-align: justify;" target="_blank">Epizoda ?</a><span style="text-align: justify;"> - is available to watch online for the first time, streaming on </span><b style="text-align: justify;">tao films</b><span style="text-align: justify;">, an art movie platform "which specialises in previously undistributed independent and arthouse cinema from around the world."</span><br />
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<span style="text-align: justify;"><a href="https://tao-films.com/film/epizoda" target="_blank"><b>Watch Epizoda ? online.</b></a></span><br />
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Mentored by <a href="https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-bela-tarr" target="_blank">Béla Tarr</a>, with original music by Dino Santaleza of Croatian band <a href="https://pridjevi.bandcamp.com/" target="_blank">Pridjevi</a>, and starring Vladimir Kajević and Elma Selman, it was the first movie to be directed by the Institute's <a href="http://graemecole.co.uk/" target="_blank">Graeme Cole</a> while he studied at Mr Tarr's <a href="http://www.jonathanrosenbaum.net/2017/06/37437/">film.factory</a> in Sarajevo, BiH.<br />
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<b>Synopsis</b>: <i>A TV detective who's lost the plot drives aimlessly around the city. Negotiating time and space seem achievable next to solving a murder in a factory, the only witness a robot with the ability to get under the skin with its only two programmed lines: “That interests me” and “What are you afraid of?”
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Epizoda ? premiered at <a href="http://www.bandits-mages.com/en/blog/2016/10/28/white-card-evening-to-graeme-cole/" target="_blank">Rencontres Bandits-Mages</a> in Bourges, France, in 2016 and went on to play at <a href="http://alternativa.cccb.org/2016/en/films/oficiales/epizoda" target="_blank">L'Alternativa</a> (Barcelona) and the <a href="http://faf.rs/" target="_blank">Auteur Film Festival</a> in Belgrade among others. Most recently, it showed on a looping VHS cassette during Mr Cole's <a href="http://zoomcitta.blogspot.com/2018/08/slip-road-exhibition-epizoda-amateri.html" target="_blank">solo exhibition</a> at the <a href="https://slowshortfilmfestival.com/graeme-cole-exhibition/" target="_blank">Slow Short Film Festival</a> in Mayfield, UK.<br />
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The film is accompanied, on tao films, by an interview with the director. Epizoda ? can be 'rented' for €4.99 for 72 hours, or you can take out a month's subscription for just €1 more - which the Institute recommends, since our colleague Aleksandra Niemczyk will present two new films on the site this month, in addition to the copious hard-to-see art movies the service already hosts.<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-20613317180676456262018-11-16T09:00:00.000+00:002018-11-23T16:59:22.153+00:00The Curse of the Phantom Tympanum book, film, & exhibition in Bourges<div style="text-align: justify;">
Following Graeme Cole's <a href="http://www.bandits-mages.com/en/blog/2017/03/01/presentation-of-the-future-2017-emanemare-residency-graeme-cole/" target="_blank">EMAP/EMARE artist residency</a> of September 2017, an exhibition and outpouring of new materials are due to take place in the city of Bourges, France.</div>
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The exhibition celebrates the collaborative (p)reconstruction of yet another episode of Mr Cole's artist film cycle, <a href="http://alltheworldsmusicever.com/tympanum" target="_blank">UNIVERSAL EAR</a>. It contains the movie itself, looping every half-hour; additional video materials and properties from the set; scraps of discarded research; and an artist's book, available to buy from the gallery or <a href="http://alltheworldsmusicever.com/books" target="_blank">online</a>. The limited edition book will be removed from sale at the end of the exhibition.</div>
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From November 16th-December 2nd 2018, the exhibition UNIVERSAL EAR: The Curse of the Phantom Tympanum will take place at Le Haïdouc – Antre Peaux, the premises of media arts organisation Bandits-Mages, who hosted the residency. The show is a satellite manifestation of an exhibition of EMAP artists' work, <a href="https://rencontres2018.bandits-mages.com/?lang=en" target="_blank">RACCOMMODER LE TISSU DU MONDE</a> (Mending the Fabric of the World), curated by <a href="http://www.annickbureaud.net/" target="_blank">Annick Bureaud</a>, which takes place during this year's Les Rencontres Bandits-Mages.</div>
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<pr><b>EXHIBITION</b>: UNIVERSAL EAR: The Curse of the Phantom Tympanum<br /><b>OPENING EVENT: </b>Friday 16th November, 2018, 20.00 (FREE)</pr></div>
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<b>WHERE</b>: <a href="http://www.bandits-mages.com/en/le-haidouc/" target="_blank">Le Haïdouc</a> – Antre Peaux, <a href="https://www.google.co.uk/maps/place/Bandits-Mages/@47.0758624,2.380304,17z/data=!3m1!4b1!4m5!3m4!1s0x47fa95d26ef8461b:0x1238248c0f5996ba!8m2!3d47.0758624!4d2.3824927" target="_blank">24-26 route de la chapelle</a>, 18000 Bourges, France.</div>
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<b>WHEN: </b>Friday 16th November - Sunday 2nd December, 2018. Monday to Saturday, 14.00 – 18.00. Sunday on demand.</div>
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<b>COST:</b> FREE<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-70101163980935750112018-11-14T07:45:00.001+00:002018-11-14T08:14:55.416+00:00Launch of a temporally-limited edition book: The Curse of the Phantom Tympanum<div style="text-align: justify;">
The Institute is proud to announce the launch of <a href="http://alltheworldsmusicever.com/books" target="_blank">our first book</a>.</div>
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UNIVERSAL EAR: The Curse of the Phantom Tympanum was created by Graeme Cole with Aleksandra Niemczyk, in response to Mr Cole's <a href="http://zoomcitta.blogspot.com/2017/08/universal-earlog-iii-day-1.html" target="_blank">EMAP/EMARE residency at Bandits-Mages</a> in Bourges. It is available for just 21 days during this year's Rencontres Bandits-Mages, where this UNIVERSAL EAR episode will also appear in movie form as part of an installation until 2nd December.</div>
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Here's the science:</div>
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<b>UNIVERSAL EAR: The Curse of the Phantom Tympanum by Harley Byrne</b></div>
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<i>229pp, paperback, 12/11-02/12/2018</i></div>
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Reconstructed by Graeme Cole (text) and Aleksandra Niemczyk (illustrations) from the unfound memoirs of Harley Byrne.</div>
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Available to buy in a <b>temporally-limited edition</b> during Rencontres Bandits-Mages 2018, 12th November-2nd December.</div>
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<a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=Q2BDB2PN52L4L">BUY NOW</a> £8 +£5 postage and packaging (UK & international)</div>
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Harley Byrne’s ongoing mission is to capture and make available for download <b>“all the world’s music, ever.”</b> This novella-length extract from his memoirs tells the full story of Byrne’s adventures in Bourges, France, 2187AD.</div>
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While working on his escape from slavery in the reverb mines of 32nd-century Detroit, Byrne is tipped off to the existence of a form of <b>‘rogue sim electroacoustic pop’</b> created by a pair of sentient statues in 22nd-century Bourges.</div>
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But when he arrives in the historical city, he discovers it to be an ontologically dubious virtual heritage site, overrun with corrupt holograms, cyborg saints, and the occasional native telling fisherman’s tales from deep VR.</div>
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What’s more, one of the musicians is missing: the lab-cultured, organic statue of Saint Ursinus, recreated from ancient DNA but barely more than an adolescent.</div>
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In order to track him down, Byrne must navigate the ever re-loading maze of the city, outwit the crazed busts of Bourges’ most celebrated sons and daughters, and keep hold of his senses under the effects of <b><a href="http://alltheworldsmusicever.com/tympanum">the curse of the phantom tympanum</a></b>.</div>
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<b>Available for 21 days only</b>, the first UNIVERSAL EAR book was created as part of an EMAP/EMARE <a href="http://www.bandits-mages.com/en/blog/2017/03/01/presentation-of-the-future-2017-emanemare-residency-graeme-cole/">artist residency</a> at Bandits-Mages, Bourges, further supported using public funding by the National Lottery through Arts Council England. The book also contains a photographic project - <b>A New Ontology of Hallucination</b> - and Mr Cole’s studio log from the residency. A film adaptation of the adventure will loop as part of a Curse of the Phantom Tympanum <a href="https://rencontres2018.bandits-mages.com/universal_ear/?lang=en&fbclid=IwAR19lgpUFhzv7D7Z1nh9fonahgYejtSSXPNeO0FcMR2COI1PEsLypeWRVj8">exhibition</a> at Le Haïdouc – Antre Peaux in Bourges from <b>16th November-2nd December 2018</b>.</div>
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<i style="text-align: justify;">* Please note this is a small-scale, non-profit art project. We will endeavour to dispatch your book anywhere in the world within 5 days but please bear with us. Queries before and after purchase can be directed to graeme[at]zoomcitta dot co dot uk.</i>Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-89137890343550036192018-09-05T13:33:00.000+01:002018-09-05T13:34:04.612+01:00Epizoda ?, Amateri in Varaždin<div style="text-align: justify;">
Our sad cop movie and cyberpunk weather diary will play the Trash Film Festival in Varaždin, Croatia, this Friday. Please comment below if you visit!</div>
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<b>EVENT</b>:<b> </b><a href="http://zoomcitta.blogspot.co.uk/p/epizoda.html" target="_blank">Epizoda ?</a> and <a href="http://zoomcitta.blogspot.co.uk/p/amateri.html" target="_blank">Amateri, or The Lost Innocents</a> at the <a href="http://www.trash.hr/?page_id=41" target="_blank">13th Trash Film Festival</a><br />
<b>PROGRAM: </b>Blok H</pr></div>
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<b> WHERE</b>: <a href="http://www.kinogaj.hr/kontakt.html" target="_blank">Kino Gaj</a>, Gajeva 1, <a href="https://www.google.com/maps?ll=46.308602,16.337627&z=17&t=m&hl=en-GB&gl=US&mapclient=apiv3" target="_blank">42000 Varaždin</a>, Croatia.</div>
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<b>WHEN: </b>Friday 7th September, 2018, 19.50</div>
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<b>COST:</b> Enquire at venue.</div>
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-54091220779042959892018-08-28T18:49:00.000+01:002018-08-28T18:51:42.690+01:00Slip Road exhibition: Epizoda ?, Amateri, and Murmurs in Mayfield<div style="text-align: justify;">
A one-day exhibition of three recent projects from Graeme Cole, all co-produced by the Institute, will take place as part of the second Slow Short Film Festival in Mayfield this Saturday. The videos will be shown on a loop in the Memorial Hall opposite the main venue. It is the first chance to see any of these movies in the UK, and includes a special preview version of the previously unseen, ASMR-themed Murmurs across two synchronized screens. Mr Cole will be in attendance at the festival. Aleskandra Niemczyk's <a href="https://www.facebook.com/InvestigationsOfaDog/" target="_blank">Investigations Of A Dog</a>, which Mr Cole highly recommends, will play in the main program. In fact, the whole day-long festival has been very thoughtfully prepared.</div>
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<b>EVENT</b>:<b> </b>Graeme Cole: Slip Road at <a href="https://slowshortfilmfestival.com/" target="_blank">The Slow Short Film Festival 2018</a><br />
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<b> WHERE</b>: <a href="https://www.google.com/maps/place/Mayfield+Memorial+Hall/@51.021723,0.263463,15z/data=!4m2!3m1!1s0x0:0x6d6252461d17bfa?sa=X&ved=2ahUKEwj-3ebfo5DdAhWmIcAKHanrB0AQ_BIwDnoECAoQCw" target="_blank">Mayfield Memorial Hall</a>, Tunbridge Wells Road, Mayfield, East Sussex TN20 6PJ. </div>
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<b>WHEN: </b>Saturday, 1st September 2018, 13.30-20.00</div>
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<b>COST: </b>Entrance to the exhibition is <b>free</b>. Tickets to the festival are <a href="https://www.eventbrite.co.uk/e/the-slow-short-film-festival-2018-tickets-46206651338" target="_blank">£10 + fee</a>.<br />
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<b>NOTES:</b> The three films will play concurrently: <a href="http://zoomcitta.blogspot.co.uk/p/epizoda.html" target="_blank">Epizoda ?</a> (40 minutes), <a href="http://zoomcitta.blogspot.co.uk/p/amateri.html" target="_blank">Amateri</a> (20 minutes), and <a href="http://zoomcitta.blogspot.co.uk/p/murmurs.html" target="_blank">Murmurs</a> (special preview version, 65 minutes). <a href="https://www.facebook.com/events/142281343295765/?active_tab=discussion" target="_blank">Facebook event</a>.<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-1648125251079809482018-08-06T12:47:00.000+01:002018-08-06T12:47:28.417+01:00Amateri in Denver<div style="text-align: justify;">
<a href="http://zoomcitta.blogspot.co.uk/p/amateri.html" target="_blank">Amateri, or The Lost Innocents</a> will play at <b>The Unseen Festival 2018</b> in Denver, USA this September. The Institute salutes the festival's programming principles and we'd love to hear back from anyone who attends!<br />
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<b>EVENT</b>: <a href="http://counterpathpress.org/the-unseen-festival-september-1-to-september-30-2018-2" target="_blank"><b>Amateri</b> at <b>The Unseen Festival 2018</b></a><br />
<b>PROGRAM: </b>Volleyball Holiday<br />
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<b> WHERE</b>: Counterpath, 7935 East 14th Avenue, Denver, Colorado, <a data-bindattr-687="687" href="https://www.google.com/maps/place/7935%20East%2014th%20Avenue%20Denver%2C%20CO%2080220" target="merchant_address">CO 80220</a>, USA.</div>
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<b>WHEN: </b>Friday, 14th September 2018, 19.30</div>
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<b>COST: </b><a href="http://counterpathpress.org/contact" target="_blank">$7</a><b><br /></b></div>
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<b>NOTES:</b> "Working with new definitions of experimental film, writing, and dance
during a full 30 days of screenings and other performances at multiple
venues from September 1 to September 30, 2018, Counterpath is excited to
present year 2 of The Unseen Festival, exploring notions of the
resistant, the excluded, and the unacknowledged."<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-14636317584146372882018-04-26T21:54:00.000+01:002018-04-26T21:54:08.379+01:00Amateri in Tallinn<div style="text-align: justify;">
<a href="http://zoomcitta.blogspot.co.uk/p/amateri.html" target="_blank">Amateri, or The Lost Innocents</a> will play at <b>Station To Station International Film Festival in Tallinn</b>, Estonia next week. The festival looks amazing and you are encouraged to attend even if you find the Institute's work to be generally appalling.</div>
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<b>EVENT</b>: <a href="https://vimeo.com/209547118"><b>Amateri</b></a> at <b><a href="https://igaritastepien.wixsite.com/sts-tallinn" target="_blank">Station To Station International Film Festival</a></b></div>
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<b> WHERE</b>: Saal 2, <a href="https://www.google.com/maps/place/Artis+Cinema/@59.432794,24.751661,15z/data=!4m2!3m1!1s0x0:0xdf7959556bec74e5?sa=X&ved=0ahUKEwj0_9X55tjaAhXR-qQKHeo0C7AQ_BIIhwEwDA" target="_blank">Artis Cinema</a>, <span class="LrzXr">10143 Tallinn, Estonia</span></div>
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<b>WHEN: </b>Thursday, 3rd May 2018, 20.30</div>
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<b>COST: </b><a href="http://www.kino.ee/eng/Websales/Movie/4607/?dt=03.05.2018">€4.90</a></div>
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<b>NOTES:</b> "Station To Station is a gathering of like-minded directors from around the world who believe in the cinema as a form of art. 40 independent filmmakers from more than 10 different countries are touring around Europe to screen their work at local cinemas (underground films/ narrative/experimental/documentary). It’s a combination of cinephilia, cultural education, travelling, exploration, networking and fun."</div>
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-9999322980571102982018-01-26T14:06:00.001+00:002018-01-26T14:06:37.240+00:00Amateri in Manila<div style="text-align: justify;">
<a href="http://zoomcitta.blogspot.hr/2016/09/sarajevo-split-log-3.html" target="_blank">Amateri, or The Lost Innocents</a> will play at <span class="en_N i_3mCHE" data-test-id="message-group-subject" title="Official film selections Jan 2018 iChill Manila International Film Fest"><span data-test-id="message-group-subject-text"><b>iChill Manila International Film Fest</b> tomorrow</span></span>. Go and see it! Tell us how it is!</div>
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<b>EVENT</b>: <b>Amateri</b> at <a href="http://ichilltheatercafe.com/screening-sched-january-2018-edition-ichill-manila-international-film-fest/" target="_blank"><span class="en_N i_3mCHE" data-test-id="message-group-subject" title="Official film selections Jan 2018 iChill Manila International Film Fest"><span data-test-id="message-group-subject-text">iChill Manila International Film Fest</span></span></a><br />
<b> WHERE</b>: <a href="https://www.facebook.com/ichilltheatercafe/" target="_blank">iChill Theatre Cafe</a>, 1125 Dos Castillas st. Sampaloc Manila, Philippines<br />
<b>WHEN: </b>Saturday, 26th January 2018, 14.00<b> </b><br />
<b>COST: </b>Free with<a href="https://mailchi.mp/a36cefe2465d/ichill-manila-international-film-fest" target="_blank"> sign-up</a>.<br />
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Armend Morsellinohttp://www.blogger.com/profile/04825081259332025747noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-69463369138987861522017-12-07T09:37:00.000+00:002017-12-07T09:37:26.742+00:00Constructing and Deconstructing Cinematic Worlds: Sound design and urbanism in Playtime and Themroc <br />
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<i>Here follows a quasi-academic essay I wrote in 2015. I hope that somewhere within the bap of my ignorance, amongst the void where the burger of knowledge and understanding should be found, readers might at least stumble upon a gherkin of curiosity. It's a bit over 3,000 words, or a 12 minute read.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighsCn1SrzziqNP_u1QWOyhiGVnsB2yyQYIpfPQyK4HuZzh9njlabRNe2aNrtNcSuuqTlf4xnVUzmDqF9j1vfoBbzxioKvoiTdgWwQgzIMnUS7Lh3MxQMAuH_ABRB2OIIAGLjmV4v0XyA/s1600/the+economy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“The economy, with its iron collar of archaic forms, has always smashed revolution by means of freedoms, modelled on the freedom of commerce, which because of the inherent constraints of the law of profit swiftly become the building-blocks of new tyrannies.” (Vaneigem, 1983: 10)" border="0" data-original-height="512" data-original-width="672" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighsCn1SrzziqNP_u1QWOyhiGVnsB2yyQYIpfPQyK4HuZzh9njlabRNe2aNrtNcSuuqTlf4xnVUzmDqF9j1vfoBbzxioKvoiTdgWwQgzIMnUS7Lh3MxQMAuH_ABRB2OIIAGLjmV4v0XyA/s400/the+economy.jpg" title="" width="400" /></a></div>
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<b>Two films either side of May ’68</b>, two visions of an alienated post-war Paris détourned, deconstructed and destroyed by its inhabitants.</div>
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<a href="https://en.wikipedia.org/wiki/Playtime" target="_blank">Playtime</a> (Jacques Tati, 1967) is an ironic modernist utopia, the city as a machine for living in, unwittingly exploited by Jacques Tati's Monsieur Hulot. His casual clumsiness reshapes Paris as a playground in which human connections can be made in spite of the passive-aggressive urban engineering of his time.</div>
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The eponymous anti-hero of <a href="https://en.wikipedia.org/wiki/Themroc" target="_blank">Themroc</a> (Claude Faraldo, 1973) lives in a post-’68 Paris where the illusion of a progressive utopia is no longer maintained. As a construction worker in a palpably bricks-and-mortar society, Themroc represents the very fabric of the city – a fabric being pulled to ripping point by inhuman corporate and political forces.</div>
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They are fascinating for their contrasting critiques of modernist/post-industrial urbanism, the state of mid-twentieth century western capitalism, and the effect of both on the individual and on groups. Set in Paris at almost the exact same point in history, the city is nevertheless unrecognisable from one movie to the other.</div>
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The third key text, from which I will take my cue to interrogate these movies, is Raoul Vaneigem’s <a href="https://en.wikipedia.org/wiki/The_Revolution_of_Everyday_Life" target="_blank">The Revolution of Everyday Life</a> – published in the year of <i>Playtime</i>’s release and six years before <i>Themroc</i>. Vaneigem was part of a group known as the situationists (although he notes that “situationism is an ideology that the situationists were unanimous in rejecting. The term “situationist” was ever only a token of identification. Its particularity kept us from being mistaken for the throngs of ideologues.” <i>(Obrist, 2009)</i>) </div>
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Vaneigem was critical of existing economic powers but specifically their complex entanglement with cultural customs, rituals, and artefacts – ways of life the common individual regards as ‘natural' but which are in fact the building blocks of our oppression, shaped and guided by living history, vested interests and complacency. He notes that dystopian literature such as Huxley's <i>Brave New World</i> and Orwell's <i>1984</i> alienate us from meaningful critique because they relocate today's oppression into fears of the future: "Compared with my present imprisonment," he writes, "the future holds no interest for me." <i>(Vaneigem, 1983: 34)</i></div>
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Intriguingly, both <i>Playtime</i> and <i>Themroc</i> operate on the borders of speculative fiction (if not science fiction), although both are set in contemporary Paris. <i>Playtime</i> does it by pushing existing technologies and infrastructures to absurd extremes; <i>Themroc</i>, by positing an alternative dimension in which Parisians speak to each other only in grunts, and physical laws are subtly different to our own. For example, the antihero Themroc gains superhero strength after he revolts and, likewise, the other revolutionaries find themselves immune to tear gas (characterized as ‘HASH PROLETARIEN'). But both movies essentially locate their critiques in an identifiable here-and-now and offer semi-serious strategies for the subversion and overthrow of an everyday life that is easily taken for granted.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie51sdkMKaNuZ3rz11RpfsH4yFYgTDCcpIwWYvnvEAAQ389ECUqA78IF5BohN1sZxLpbSB6sb0bmpVBMyPQ9zYnWQN6Saln_4tBN_V7xfg2_5nQB1z0HmpzrzKWRBKsVctHvZha6cNulQ/s1600/not+a+communist.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“I am not a Communist. I could have been if Communist history were not so sad. It makes me sound old-fashioned but I think I am an anarchist. Great things were done historically by anarchists.” – Jacques Tati (Hester, 2011: 4)" border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie51sdkMKaNuZ3rz11RpfsH4yFYgTDCcpIwWYvnvEAAQ389ECUqA78IF5BohN1sZxLpbSB6sb0bmpVBMyPQ9zYnWQN6Saln_4tBN_V7xfg2_5nQB1z0HmpzrzKWRBKsVctHvZha6cNulQ/s400/not+a+communist.jpg" title="" width="400" /></a></div>
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<b>The tension</b> of the situationists’ outlook was in the ambivalence of its protagonists’ desires. On the one hand, our way of life is fundamentally flawed, and we would ideally start from scratch. On the other, the bricks of our new society are to be retrieved from the rubble of the existing one. Vaneigem’s text is presented as political philosophy, but it is just as sad as it is angry. The predominant emotion is despair, but its being written was an act of hope.</div>
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Look at the names of two situationist exhibitions held in Denmark in the 1960s: ‘<i>Destruktion af RSG-6</i>' and ‘<i>Operation Playtime</i>.' One fantasized about nuclear war; the other hints at situationism’s ludic tendencies <i>(Rasmussen, 2015: 14)</i>. Situationism appeals to the guts and to the intellect. Everyday life is not to be considered from a purely political standpoint: it is animal, absurd, physical and ritualistic.<br />
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This is what makes cinema, with its multiple forms of sensory communication and invocation, a suitable instrument with which to dissect it. Cinema can look and sound like everyday life, but with unfamiliar perspectives, structured narratives and re-configured physicalities (for example, Hulot's characteristic walking style, which expresses his childlike innocence while inspiring the audience to consider how each of us actually walks around the city. It is a form of Brechtian alienation). </div>
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Where <i>Playtime</i> and <i>Themroc</i> excel in this pursuit is their respective use of sound design, framing, and minimal narrative to jerk the viewer from a complacent reading of each movie and reconsider it in the light of their own political circumstances.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge9UrsUnRJ6aYFFqmE4BrnLml8pJLLHneCGyl31QBeDFtVircy-RVTtVnCD7Ql38SbeePqALh3nGijKIIe7k1OABvj3hJzEfXz_uv5u-nuqKbGpRTdje6Se5VMA7SP1tCEIAtgggaisgs/s1600/endless+minuet.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em;"><img alt="“The endless minuet of humiliation and its response gives human relationships an obscene hobbling rhythm. In the ebb and flow of the crowds sucked in and crushed together by the coming and going of suburban trains, coughed out into streets, offices and factories, there is nothing but timid retreats, brutal attacks, smirking faces, and scratches delivered for no apparent reason.” (Vaneigem, 1983: 16)" border="0" data-original-height="512" data-original-width="672" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge9UrsUnRJ6aYFFqmE4BrnLml8pJLLHneCGyl31QBeDFtVircy-RVTtVnCD7Ql38SbeePqALh3nGijKIIe7k1OABvj3hJzEfXz_uv5u-nuqKbGpRTdje6Se5VMA7SP1tCEIAtgggaisgs/s400/endless+minuet.jpg" title="" width="400" /></a></div>
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<b>The soundscape</b> of <i>Themroc</i> is murky, unpretty – but not imprecise. <i>Playtime</i> – or the first half, before the extended restaurant sequence, at least – is composed of isolated, laboratory-fresh foley objects.</div>
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Both films begin with journeys: Themroc rises, gets ready for work and takes the commute; the figure of Hulot, on his way to and from an important meeting, is juxtaposed with a gaggle of tourists on their way from the airport to their hotel. </div>
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The key sonic motifs of each of these sequences are opposite in approach but equally dehumanizing. Workers leave Themroc’s apartment block whistling indecipherable tunes, mount their squeaking bicycles and lean on each other for support, already becoming an indistinguishable mass. By the time they reach the Metro, their footsteps begin to mingle together. This is not a march, though it is drilled in: the daily shuffle, ingrained in muscle memory. The roar of the footsteps mingles with the roar of the trains, mechanized, impersonal, a mass tragedy. This roar echoes the opening title sequence in which animalistic human growling is echoed by growling engine sounds. Our economy didn’t become industrialized: people did.</div>
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Footsteps are essential to Hulot’s sonic journey, too, but are kept in the realm of the absurd. Where <i>Themroc</i>’s Paris is post-industrial, <i>Playtime</i>'s is modernist. The clean, sterile surfaces of the airport and office buildings invite the individual click-clacking of shoe heels. Silenced by their steel glass exteriors, these structures seem robot-built for comfort and security, but this only makes them isolating. They create the illusion of wealth, are revealed to be both economically and socially inefficient when it takes several minutes for two characters to meet in a long corridor (click-clacking all the way). </div>
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And of course what we don't see, is the inversion of this urbanism: in a city where space is at a premium, such luxurious (if alienating) use of space comes at the expense of the banlieues that are only hinted at by the presence of assorted misfits loitering around the city, unattributed to any structure (the rockers who disturb Barbara’s photo opportunity, the kids who whistle at the glaziers). For whom was such a city built?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrwf4mH-jH4Yng0SfkE2A-QsPzFWWh7zMXCg5qZXp2zVsgBPdY59vQGCn-PttrvOJFW6reFuLOIXEF6r03mBQPPFVHA4WD9ysE4REIiRKtDh1qKLFsvPLzxPwnTqCvCZyxtBas0RXIos/s1600/in+his+films.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em;"><img alt="“In his films, the voice is not an emphatic vehicle for text; the voice instead helps to shape the character's physical being, in much the same way as do the character's costume and physical behavior. And if we can compare the size of a voice to the visual space it "occupies," we may say that Tati's voices are always smaller than the shots they inhabit. The voice in Tati avoids dominating the image[.]” (Chion, 1999: 82)" border="0" data-original-height="352" data-original-width="640" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQrwf4mH-jH4Yng0SfkE2A-QsPzFWWh7zMXCg5qZXp2zVsgBPdY59vQGCn-PttrvOJFW6reFuLOIXEF6r03mBQPPFVHA4WD9ysE4REIiRKtDh1qKLFsvPLzxPwnTqCvCZyxtBas0RXIos/s400/in+his+films.jpg" title="" width="400" /></a></div>
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<b>Hulot finds his voice</b> in the restaurant scene: the first time we really hear him talk is amidst the party, in English, as he gives street directions to a drunken foreigner who then mistakes the veins of a faux-marble pillar for the continuation of a tourist map. Running his finger along the abstract ‘roads,' the tourist cannot know where he is pointing, but he points nonetheless rather than just staring: he is following some emotional or aesthetic instinct rather than the practical, economically-motivated routes advised on the dropped tourist map. </div>
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Intentionally or not, Tati calls to mind the dérive (drift), the situationists' ‘psychogeographic’ technique of wandering around the city in ignorance or subversion of prescribed routes (or laws) in search of currents of feeling. Among situationist practitioners of the dérive, techniques included intentionally using the wrong map (i.e., for a completely different city) and creating new maps based on emotional (psychogeographic) responses. </div>
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But how to interpret this clearest incidence of Hulot's voice in the movie – in English? Perhaps to hear Hulot speak in French would make him too identifiable to local audiences. To finally hear our French hero speak, only in English, is to play down his importance: he might as well whisper, or be drowned out by passing traffic.</div>
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Themroc finds his voice in the crowd. Not a leader by hierarchy but by example, the first hint of his calling occurs when his cough, a city cough that has troubled him since the opening of the film, evolves into a primal scream. Others, although apparently out of earshot, are all the same inspired to growl along. Later, when his neighbours gradually follow Themroc’s lead and demolish the outer walls of their homes, feelings of outrage, jealousy and fear give way to a swell of solidarity and liberation.</div>
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Another key vocalisation in Faraldo's movie is the hiccupping of Themroc's mother. From the moment that Themroc cups his sister's exposed breast – the realization of a previously latent mutual attraction – their mother, whom they are taunting, begins to hiccup, and the camera will return to her at odd moments throughout the remainder of the movie to show how her hiccupping continues as the days pass.<br />
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The rhythm of her hiccups evokes the hourly rhythm of the family's cuckoo clock, at once equating the conformist mother with the mechanics of capitalism and evoking the idea of the hiccup as a natural rhythm, a fundamental feature of the human animal that she keeps locked up in her apartment while her children revert to primitivism. While Faraldo is not literally condemning the taboo of incest as a tool of social repression, this reaction represents another visceral, necessarily irrational scream of frustration at the social conditioning that forms the very fabric of our day-to-day relationships.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqrCaF-JKvVjZ08yu2kCTho-gtKzC9TYP-0xnzujusQ6vxHBNj8ffU-SPT71dxpdU0j4m0qD4ESYdEf2_rqTe1KB1m8WPQ0IvKXk3ztcnzUszYv3kSwMNv7c9It7lyrK9d1cWsI-S4awQ/s1600/the+modern+world.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“The modern world has to learn what it already knows, become what it already is, through a great exorcism of obstacles, through practice. We can escape the commonplace only by manipulating it, thrashing it into our dreams or surrendering it to the free play of our subjectivity.” (Vaneigem, 1983: 17)" border="0" data-original-height="512" data-original-width="672" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqrCaF-JKvVjZ08yu2kCTho-gtKzC9TYP-0xnzujusQ6vxHBNj8ffU-SPT71dxpdU0j4m0qD4ESYdEf2_rqTe1KB1m8WPQ0IvKXk3ztcnzUszYv3kSwMNv7c9It7lyrK9d1cWsI-S4awQ/s400/the+modern+world.jpg" title="" width="400" /></a></div>
<b>We never see Hulot’s home</b>, but we can assume he continues to live in the run-down but charming suburban dwelling the character inhabited in an earlier film, <i>Mon Oncle</i> (Tati, 1958).<br />
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We see and hear what a home is for a certain class of Parisian in <i>Playtime</i>’s universe primarily through the ‘ideal home’-style exposition into which Hulot unwittingly stumbles near the beginning of the film. (The glass-fronted modules that form an apartment block he later visits echo the absurd idealism of the expo, and by chance form an ironic counterpoint to the open-fronted apartments of Themroc’s world – open-fronted, in this case, because Themroc and his neighbours have demolished their walls with sledgehammers).</div>
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Central to the expo’s ideal domestic life is the concept of cleanliness. The slogan “thro out greek style” is pasted above a display of flip-top rubbish bins shaped to look like ruined Greek pillars. The mechanics of the bin, all the same, surprise us by creating the same familiar metallic clatter associated with an ordinary kitchen bin. It is a subtle way to draw attention to a disconnection in modernist culture: we cannot acknowledge, and will not take full responsibility for, our own shit. A bin is a bin, no matter what aspirations the marketing companies pin to it.</div>
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This sonic joke is reversed when Hulot becomes embroiled in a misunderstanding at a display of domestic doors. This time, the slogan reads ‘Slam your Doors in Golden Silence,' and again the message is about the social awkwardness of shit – this time, our emotional shit. The irony emerges when the display's own representative finds himself unable to express his anger – he slams the display door, and the viewer has the strange cognitive experience of seeing it shut silently.</div>
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This type of silent – silenced – frustration is at the core of <i>Themroc</i>. But Themroc’s domestic situation is not clean-lined, the innovations (cuckoo clock, coffee grinder) are outdated and failing. The camera stays in the kitchen as Themroc prepares his breakfast (coffee and crumbs falling everywhere, compounding the Sisyphean struggle of ‘keeping up’ a home). He goes to the bathroom and the flush is exaggerated even from a distance, a grotesque echo of <i>Playtime</i>’s deluxe metallic bin. But when he eats, the sound of him chewing is eerily silent. When he spies on his naked sister, we hear just the low ambient sounds of the apartment; and later, Themroc’s flashbacks (as he works) to previous iterations of his daily routine are in complete silence. </div>
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These are somehow Themroc’s most personal moments: his sensual pleasure, his delight, and his despair. And like the silent-door representative of Playtime’s ideal home expo, they go unannounced: of no economic value, they are oddly muted into a sonic invisibility.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvUZHNPKru6WG4NTMMOhhupYH7SRZ1VCPhsYZPzvE3tCJiRSq-rdQcp8DRnH8Pzrf9S338TQYejMS5Qq9rBMrDDchj6xgMpFqUWcg9eqB1ZDs1GBi49g_FDJ0n9qPwjgLWgeJUcuAh3mc/s1600/the+decision+to+live.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“The decision to live is a political decision. Who wants a world in which the guarantee that we shall not die of starvation entails the risk of dying of boredom?” (Vaneigem, 1983: 18)" border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvUZHNPKru6WG4NTMMOhhupYH7SRZ1VCPhsYZPzvE3tCJiRSq-rdQcp8DRnH8Pzrf9S338TQYejMS5Qq9rBMrDDchj6xgMpFqUWcg9eqB1ZDs1GBi49g_FDJ0n9qPwjgLWgeJUcuAh3mc/s400/the+decision+to+live.jpg" title="" width="400" /></a></div>
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<b>Here we locate</b> the crucial fissure between Hulot’s world and that of Themroc. Hulot has made the decision – or, perhaps like the great mass of western capitalist society, defaulted to the decision – to live, to play by the rules, to work and be fed. That he frequently subverts these rules, resulting in joy and astonishment (both for Hulot and the audience) is a result of his clumsiness and the inherent absurdity – disharmony – of the mechanized world in which he lives. </div>
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Hulot prods innocently at the fabric of society. It is his childish curiosity that inspires an (everyday) revolutionary fervour in the audience. We trust Hulot. A leading man in the mould of, for example, the situationist Guy Debord, would be less effective: we would sense his agenda.<br />
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Debord chose a more suitable form of cinematic expression for himself: détournement, essay, tirade. Manifestly political works, we accept them critically because there is an agreement that we are giving audience to an activist. Hulot, like Debord, is a <a href="https://en.oxforddictionaries.com/definition/fl%C3%A2neur" target="_blank">flaneur</a>, only Hulot has probably never heard of the word. Debord provokes revolution. Tati inspires it.</div>
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Themroc chooses to become a revolutionary, not the revolution of everyday life, but something more total: the destruction of our way of life. Like Hulot, his rebellion is not intellectually motivated; but whereas Hulot’s subversive curiosity seems innate, Themroc’s violence has been cultivated by years of everyday oppression.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyaIU6C4fB8ZW0KMGHjFibQ2Z7cyyKdwu9dp_hT_Rt62kTzhXT6pY4Hlt9_YVM9VFfJMF1o9eYz_0XpacnSe8IjXfA4TUrcJLNckYLwwMU2oUUegvZFddZrWzzjmPkgTGxiiRZymUdsM/s1600/humiliation+is.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Humiliation is “the basis of a combative lucidity in which the critique of the organisation of life cannot be separated from the immediate inception of the project of living differently.” (Vaneigem, 1983: 34)" border="0" data-original-height="486" data-original-width="768" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyaIU6C4fB8ZW0KMGHjFibQ2Z7cyyKdwu9dp_hT_Rt62kTzhXT6pY4Hlt9_YVM9VFfJMF1o9eYz_0XpacnSe8IjXfA4TUrcJLNckYLwwMU2oUUegvZFddZrWzzjmPkgTGxiiRZymUdsM/s400/humiliation+is.jpg" title="" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZp8mbKTTAe4glo6uxKrEnngCxF_BDZstDlczMzuODj57cD6CHeJ6cCUlr5XlWyWvL_OZSS1ZSt_ANdU3HQmq5u857MeZXwznqz6ZcsJjaWYqh67NZg4DYv3rw7ykwT4Udz20Ywqy-9nA/s1600/the+only+way.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="“[T]he only way to make revolutionary cinema in France is to make sure that it escapes all the bourgeois aesthetic clichés: like the Idea that there is an auteur of the film, expressing himself. The only thing we can do in France at the moment is to try to deny that a film is a personal creation. I think Playtime is a revolutionary film, in spite of Tati: the film completely overshadowed the creator.” - Jacques Rivette (Hillier, 1986: 319)" border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZp8mbKTTAe4glo6uxKrEnngCxF_BDZstDlczMzuODj57cD6CHeJ6cCUlr5XlWyWvL_OZSS1ZSt_ANdU3HQmq5u857MeZXwznqz6ZcsJjaWYqh67NZg4DYv3rw7ykwT4Udz20Ywqy-9nA/s400/the+only+way.jpg" title="" width="400" /></a></div>
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<b>Tati's Hulot</b>, although a rebel, by no means realizes Vaneigem's full program. He is neither martyr nor activist: Hulot does not "raise his desire to achieve unity with the world and himself to the level of coherent theory and practice" <i>(Vaneigem, 1983: 43)</i>. </div>
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But Tati, the filmmaker, does indeed offer this ‘coherent theory,' and his sonic and visual aesthetic forms a tool by which the audience can begin its practice. Tati's isolation and caricature of everyday sounds, his de-familiarization of everyday objects, redefine our relationship with the world around us. Each 'thing' loses its status as mere furniture and becomes an artefact to be reconsidered, renegotiated, repurposed for our own emotional, physical and economic needs – to return to Vaneigem's disdain for science fiction, this would be ineffective within an alien time setting. Shoes, rubbish bins, chairs, doors, corridors, buses, and streetlamps assume a negotiable identity thanks to the undue aesthetic focus and subversive repurposing that Tati affords them.</div>
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Faraldo's theory lacks – rejects - coherence. While he genuinely seems to call for a revolution more physically violent and complete than Tati's, the fact that Themroc's revolution is physically impossible (i.e., without the superhuman powers the rebels develop, they would quickly be crushed by the authorities) is a bitter acknowledgement of the flawed idealism of Faraldo's freedom fighters. </div>
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Rather, Faraldo's aesthetic is angry: a dirty, free, messy explosion of camera movement and editing, with a rumbling, guttural soundtrack. It is not meant to be a guidebook to the revolution, but a visceral urge to break from one's routine and question the structures that inhibit us. </div>
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Vaneigem refers to the ‘dangerous charm' of such fantasies <i>(1983: 47)</i>. But however wild it appears, the film is not undisciplined, and Faraldo leaves clues for the audience to interpret the movie: the silences and surrealisms and of course the non-language of the characters, all of which echo Rivette's call to reject bourgeois aesthetic clichés, legitimize Faraldo's text without canonizing it.</div>
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In both cases, these are movies and filmmakers of supreme personal integrity and individuality utilizing that most overlooked – or tastefully assimilated – of filmmaking tools, the sound design, to express outrage at the insidious materialization of oppressive economic powers in the environments of our everyday lives; and to inspire hope, responsibility and subversive action in defence of the audience’s emotional and economic freedoms.</div>
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References:<br />
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Chion, Michel “The Voice In Cinema” Columbia University Press, 1999.<br />
Hester, Diarmiud “Somatic Geometry” One+One Filmmakers Journal Issue 7: 2011<br />
Hiller, Kim (editor) “Cahiers Du Cinema 1960-1968: New Wave, New Cinema, Reevaluating Hollywood” Harvard University Press, 1986<br />
Obrist, Hans Ulrich “<a href="http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/" target="_blank">In Conversation with Raoul Vaneigem</a>” e-flux: 2009 <br />
Rasmussen, Mikkel Bolt & Jakobsen, Jakob “Cosmonauts of the Future” – Nebula, 2015.<br />
Vaneigem, Raoul “The Revolution of Everyday Life” – Second Revised Edition, London, Left Bank Books and Rebel Press, 1983.Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-75197409405566617942017-10-01T21:43:00.000+01:002017-10-01T21:43:55.585+01:00UNIVERSAL EARLog III: Day 39<div style="text-align: justify;">
The final day of the shoot, and we are sent reinforcements from <a href="http://bandits-mages.com/site2015/en/blog/2017/03/01/presentation-of-the-future-2017-emanemare-residency-graeme-cole/" target="_blank">Bandits-Mages</a> and beyond: Olivia Earle and Julien Record (an appropriate enough name) join us from our host organization, while Lola Martin and Anna Woźnica join us from the ranks of <a href="https://www.ensa-bourges.fr/index.php/fr/" target="_blank">ENSA</a>. Their assistance is invaluable following Decerle and Delevacq's departure yesterday, and Leray's 11am flit today (all three need to get back home in time to prepare for the new school year).</div>
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What the rookies miss in being new to the set, they more than make up for in enthusiasm and initiative. Earle and Record immediately go to work preparing body-length smoke suits for a cast of five, while Martin and Woźnica decorate our model of Bourges Cathedral with the tin foil flames that cause the smoke. Leray passes on some newly-learnt lighting tips to Record before his departure, and we get the cathedral inferno scene over with in good time, allowing us to get some pick-ups of a scene by our multi-purpose Roman rampart wallpaper before break time.</div>
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After a lunch of delicious baguettes (Niemczyk's catering has been delicious and plentiful throughout the shoot, and somehow we've filled our bellies to bursting without any real encounters with the dreaded post-lunch slump) the afternoon rolls relatively smoothly. </div>
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My brain (and I'm sure those of the other long-term crew members) is beginning to creak and groan after a month in this studio, and this cardboard universe. Fortunately most of the afternoon's scenes are based around more or less the same set-up, the climactic showdown scene in Jacques Coeur's historical pantry, in which Harley Byrne finally catches up with his quarry - who is discreetly recording the ambience of the room. The process is disturbed by noises rising up from the graduation expo at the art school downstairs; some of the more droney sound art works we decide we just have keep in the background of the dialogue and perhaps even use as the 'ambience' which our hero seeks; this works fine at least until the drone is followed up with a hip-hop number in the middle of our delicate finale.</div>
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Somehow we negotiate the noise and the fatigue and Mrs Coeur's cartoonishly over-sized hat, which has been a real engineering issue all week, and particularly in the cramped and turbulent showdown scene. We get the scene done with a couple of minutes to spare before our ultimate kick-out time of 6pm; but so long as we have our wonderful 'Real Ursinus' actor Ethel on set, I decide we should push our luck and get one more cutaway of her performing the title track of the movie. Thankfully, the guardian of the building is a friendly and accommodating chap; he is able to factor our needs into his locking up route, presumably at the cost of the noise artists downstairs. There's probably some irony that UNIVERSAL EAR villain Being would find in that. Anyway, we tidy the studio as much as we can between goodbye hugs and getting our rare flamenco albums signed by Felipe, our multi-talented guest star. Then we swipe some costumes for the evening's fancy dress do, and hotfoot it to the Pub Jacques Coeur for some fancy pints in an appropriately named setting.</div>
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Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-54499157842503215432017-09-29T23:37:00.000+01:002018-03-25T18:23:56.881+01:00UNIVERSAL EARLog III: Day 38<div class="separator" style="clear: both; text-align: center;">
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<br />Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-83637640571454196472017-09-28T21:50:00.001+01:002017-09-28T22:12:28.899+01:00UNIVERSAL EARLog III: Day 37<div style="text-align: justify;">
Bourges is known for its tendency to erupt into flames: today we replicate one of the many times the cathedral has blazed, as hero Harley Byrne is tempted into a cross-element empathy experience by the mysterious Mrs Jacques Coeur. The sequence requires no small amount of desk fan breeze, tin foil flames and slinky dancing, except for the poor old character of Saint Ursinus, a statue, who has been played with uncomplaining stoicism all week by local performer Felipe, forbidden to speak or move any part of his body except his eyes. The good humour and friendliness Felipe has shown on set is the absolute inverse of the look in his eyes when the camera rolls. The power of constraints!</div>
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Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-2467996167400657682017-09-27T18:41:00.001+01:002017-09-27T18:43:19.237+01:00UNIVERSAL EARLog III: Day 36<div style="text-align: justify;">We spend the day in the house that Jacques built - the Palais Jacques Coeur, which France's richest man commissioned and had erected just in time for a brief tour before he was trialled and exiled. Well, the real thing doesn't have much colour these days, but Niemczyk and team's replica is bright and warm - it's only a shame it too will be drained by the black and white film stock. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Still, it's a pleasure to shoot shot after shot against more or less the same background, with just small re-arrangements to place us further along a corridor, or more intensely menaced by quite-possibly-sentient statues (and stained glass window). By the end of the day, my brain is spinning and I struggle to string a sentence together - perhaps the underlying structure of the building, or the pattern of the wallpaper, is indeed cursed, with the curse to be replicated wherever those structures are re-composed.</div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfSJyyvbx010sGi4qHr84el5lNq06fAE-28dsj-8YCMvgvnmBOMErqloalDhBBdfVAlOhcbBKZ2DPmCnBByOq34OhdD5Qn4cEFLyGK5-edRbD0XONbhkYodshpCJTWXuRBe2siW98FU8/s1600/IMG_9125.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfSJyyvbx010sGi4qHr84el5lNq06fAE-28dsj-8YCMvgvnmBOMErqloalDhBBdfVAlOhcbBKZ2DPmCnBByOq34OhdD5Qn4cEFLyGK5-edRbD0XONbhkYodshpCJTWXuRBe2siW98FU8/s400/IMG_9125.JPG" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxmqKa7EuiWIWp3xlQfT6bFnn1TScsiunLc3NTvIZLBXZ8Su-Z5v1JloVvA0U2gbkXZov6PBZaxjmQQSFnfXq_tnEQTYfFB0zpjkfefz-sXJk4T6prnUGc5OdsGghHo0j6Cg_PRvKTFs/s1600/IMG_9111.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxmqKa7EuiWIWp3xlQfT6bFnn1TScsiunLc3NTvIZLBXZ8Su-Z5v1JloVvA0U2gbkXZov6PBZaxjmQQSFnfXq_tnEQTYfFB0zpjkfefz-sXJk4T6prnUGc5OdsGghHo0j6Cg_PRvKTFs/s400/IMG_9111.JPG" width="400" /></a></div><br />
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</div>Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-71395303839514906212017-09-26T22:01:00.000+01:002017-09-26T22:01:45.249+01:00UNIVERSAL EARLog III: Day 35<div style="text-align: justify;">
This morning: trying to film an intrigue and adventure sequence in a featureless white room, the inverse space of the cursed tympanum. It proves a mindboggler to orient the characters from shot to shot as the camera angle changes. Where the heck did the 180-degree line just go? </div>
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<a href="http://zoomcitta.blogspot.fr/2017/08/universal-earlog-iii-day-4.html" target="_blank">In the spirit of the creators of the Bourges Cathedral</a>, we decide to add 'just a little bit more' and recall our One-horned-gazelle and Monkey cherubs to perch in the studio's ready-made tympanums. They wind up playing a key role in the resolution of the confrontation scenario, if the performers - art department interns Decerle and Delevacq - are at first a little disappointed to neutralize the scene's villain with a hug rather than karate chops. Anyway, they help the rest of us find our way around the scene.</div>
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The afternoon is mostly pick-ups with the two Ursinai, shots that we missed on our madcap Saturday opener. Things run relatively smoothly. As we point out more than once today, another six months of this and the team'll be functioning like clockwork.</div>
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<br />Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0tag:blogger.com,1999:blog-607921481127943877.post-20752448072008888142017-09-25T20:34:00.000+01:002017-09-25T20:34:05.735+01:00UNIVERSAL EARLog III: Day 34<div style="text-align: justify;">
Worship the sun, and invoke the wrath of the rain. Well, that might be utter rubbish, but the project is certainly suffering from a severe case of hubris after <a href="http://zoomcitta.blogspot.fr/2017/09/universal-earlog-iii-day-33.html" target="_blank">yesterday's glowing successes</a>, as today the crew arrives drenched by an 8.57am downpour. More seriously, this morning's guest actor slips on the way to the studio and, after a cup of sweet tea and the reassuring gazes of half-a-dozen medically incompetent filmmakers, returns home to rest it off: she will return tomorrow only if she's feeling much better.</div>
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But after that, the rain seems to have quenched its thirst for misery and misfortune, and instead becomes a pleasant background to our day's work, cocooning us in the studio and make the team feel a bit better about a day with the shutters mostly down.</div>
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Lockwood even begins to hibernate, after our first shot of the day - in which Harley Byrne is trapped in a tomb in the foetal position and believes himself on the brink of death - runs without a hitch. He's in a difficult place at the moment (emotionally rather than geographically - he's quite charmed by Bourges) and this moment seems important to him; we leave it as long as we can before removing him from his tomb so we can strike the set and set up the 'Bourges streets' scene. A respectful nod, for that first shot, should also be directed at intern Arthur Leray: on every shoot, there seems to be one person who gets roped into playing 'unidentifiable body parts' - yesterday he was a shoulder in a Manchester postal workers social club, and for today's opening shot a holographic saint's hand.</div>
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The 'Bourges street' shot takes up a serious wedge of the day which, as we reflect, could be considered somewhat daft, seeing as how the street itself is just around the corner but instead we've flown two artists and two actors across Europe to shoot it in shoddy cardboard replica in a studio five minute's walk away. But that's sort of the point, somehow. And Niemczyk's art and draughtspersonship, and ex-intern Yuan's legacy Palais Jacques Coeur replica, conjure a certain kind of magic in the studio when the whole wonky perspective shot is put into place.</div>
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Leray and soundie Queissner (who is stranded on set amidst mainly silent scenes today) team up to set-wrangle a simple close-up that just begged for a little complication. We add a row of houses, a moon, a reflector and some authentic <a href="https://en.wikipedia.org/wiki/Berry,_France" target="_blank">Berry</a> <a href="http://www.vapeclub.co.uk/e-liquids/berry-fruits.html" target="_blank">fog</a> to the scene, and I only regret we didn't add any foliage. </div>
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<tr><td class="tr-caption" style="text-align: center;">The city that Niemczyk built.</td></tr>
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After that, it's back to trying to create a floor made of liquid hologram - or quicklight. It's an athletic feat, since working with a projector, a Super 8 camera with no monitor, and a hand-held vase-as-wonky-lens actually involves building up a sweat on this chilly Bourges afternoon. Lockwood, too, is pushed to his limits as he must replicate fighting for his life while sinking through a cross between quicksand, liquid light, and malevolent, dissolving floor tiles, no doubt dreaming of a warm, comfortable tomb in which to sleep once this trial is over.</div>
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Mr Colehttp://www.blogger.com/profile/11300111048584843774noreply@blogger.com0