In 2015 after I gave a two-week 16-mm Bolex Seminar at the Berlin Film School (dffb) an enthusiastic woman film student wanted to continue to work with the Bolex. So I proposed a Bolex-Workshop for all interested film students, no matter if they study directing, camera, production, editing or scriptwriting. They would work by themselves without a team, without actors, without scriptwriting and without technical devises, only with the silent Bolex camera. Simple and alone. The administration agreed to my idea and twenty students attended the first meeting in March 2015.
{"title":"Bolexwerkstatt/Bolex-Workshop at the Berlin Film School","authors":"Ute Aurand","doi":"10.1386/miraj_00041_1","DOIUrl":"https://doi.org/10.1386/miraj_00041_1","url":null,"abstract":"In 2015 after I gave a two-week 16-mm Bolex Seminar at the Berlin Film School (dffb) an enthusiastic woman film student wanted to continue to work with the Bolex. So I proposed a Bolex-Workshop for all interested film students, no matter if they study directing, camera, production,\u0000 editing or scriptwriting. They would work by themselves without a team, without actors, without scriptwriting and without technical devises, only with the silent Bolex camera. Simple and alone. The administration agreed to my idea and twenty students attended the first meeting in March 2015.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42444708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Back in March 2020, the Costa Rica International Film Festival was the first major local event cancelled due to the COVID-19 pandemic. As in many other places over the following weeks, it was just the first of a series of cancellations and postponements that would throw the film and moving image community into disarray. The first response by local artists was, as elsewhere, to share much of their work online for the benefit of an art-hungry audience that saw how little by little most institutions entered a crisis they have not recovered from. In normal times, screenings of new work are somewhat rare in the country, and the local festivals do not prioritize new moving image art.
{"title":"Report from Costa Rica","authors":"Fernando Chaves Espinach","doi":"10.1386/miraj_00049_1","DOIUrl":"https://doi.org/10.1386/miraj_00049_1","url":null,"abstract":"Back in March 2020, the Costa Rica International Film Festival was the first major local event cancelled due to the COVID-19 pandemic. As in many other places over the following weeks, it was just the first of a series of cancellations and postponements that would throw the film and\u0000 moving image community into disarray. The first response by local artists was, as elsewhere, to share much of their work online for the benefit of an art-hungry audience that saw how little by little most institutions entered a crisis they have not recovered from. In normal times, screenings\u0000 of new work are somewhat rare in the country, and the local festivals do not prioritize new moving image art.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42582224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Susan Barnet, Anne Brunswic, Michelle Deignan, L. Dimbleby, Ruth Maclennan, Ana Cristina Mendes, Manuela Morgaine, Natacha Nisic, Esther Shalev-Gerz
Natacha Nisic recognized that the conditions of confinement created by the COVID pandemic and lockdown posed a threat to the visibility, exchange and experience of contemporary art, particularly of the work of women artists. Nisic invited women in her global network to contribute to the project and over time the network has expanded. Over 50 artists have now contributed to the publications and they maintain the online project collectively. As well as weekly publications, since the beginning The Crown Letter has hosted a weekly Salon for its contributors, where the artists exchange experiences, ideas and stories. In these times of confinement, where the effects of systemic inequality are felt across the globe, The Crown Letter harnesses the power of artistic exchange, collective energy, support and dialogue. As it approaches its first anniversary, some of the artists gathered at a salon to reflect on what The Crown Letter means to them.
{"title":"The Crown Letter roundtable discussion","authors":"Susan Barnet, Anne Brunswic, Michelle Deignan, L. Dimbleby, Ruth Maclennan, Ana Cristina Mendes, Manuela Morgaine, Natacha Nisic, Esther Shalev-Gerz","doi":"10.1386/miraj_00051_1","DOIUrl":"https://doi.org/10.1386/miraj_00051_1","url":null,"abstract":"Natacha Nisic recognized that the conditions of confinement created by the COVID pandemic and lockdown posed a threat to the visibility, exchange and experience of contemporary art, particularly of the work of women artists. Nisic invited women in her global network to contribute to\u0000 the project and over time the network has expanded. Over 50 artists have now contributed to the publications and they maintain the online project collectively. As well as weekly publications, since the beginning The Crown Letter has hosted a weekly Salon for its contributors, where the artists\u0000 exchange experiences, ideas and stories. In these times of confinement, where the effects of systemic inequality are felt across the globe, The Crown Letter harnesses the power of artistic exchange, collective energy, support and dialogue. As it approaches its first anniversary, some of the\u0000 artists gathered at a salon to reflect on what The Crown Letter means to them.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42924897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In March 2020 when COVID-19 collectively forced us into isolation, it became clear that all forms of community were more important than ever. It was (and still remains) vital that we find mechanisms to support each other through this precarious time. In the extraordinary landscape that we have found ourselves in, it is clear that many artists, writers and thinkers have had (and continue to have) exhibitions, opportunities and subsequent fees cancelled for the foreseeable future. In response to this, TRANSMISSIONS was established. It is an online platform that commissions artists, writers and thinkers to share their work within a classic DIY TV show format. This text reflects on the genesis of the project.
{"title":"The genesis of TRANSMISSIONS, an online DIY TV show","authors":"Hana Noorali","doi":"10.1386/miraj_00032_1","DOIUrl":"https://doi.org/10.1386/miraj_00032_1","url":null,"abstract":"In March 2020 when COVID-19 collectively forced us into isolation, it became clear that all forms of community were more important than ever. It was (and still remains) vital that we find mechanisms to support each other through this precarious time. In the extraordinary landscape that\u0000 we have found ourselves in, it is clear that many artists, writers and thinkers have had (and continue to have) exhibitions, opportunities and subsequent fees cancelled for the foreseeable future. In response to this, TRANSMISSIONS was established. It is an online platform that commissions\u0000 artists, writers and thinkers to share their work within a classic DIY TV show format. This text reflects on the genesis of the project.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44635374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Once while speaking with art students in a class at the Vienna art academy, I listened to their fears for their future and their questions about how to continue, frequently mentioning their parents’ concern; and I thought how helpful it would be if they could experience the nature of the Peloponnese and the imaginative freedom that I associated to filmmaking and Greece. I continue to hope that the Temenos screenings might give a certain number of individuals an experience of freedom that comes from a temporary removal from one’s own environment and immersion in the different scale of time that Markopoulos’s Eniaios provides.
{"title":"Temenos 2022","authors":"Robert Beavers","doi":"10.1386/miraj_00053_1","DOIUrl":"https://doi.org/10.1386/miraj_00053_1","url":null,"abstract":"Once while speaking with art students in a class at the Vienna art academy, I listened to their fears for their future and their questions about how to continue, frequently mentioning their parents’ concern; and I thought how helpful it would be if they could experience the nature\u0000 of the Peloponnese and the imaginative freedom that I associated to filmmaking and Greece. I continue to hope that the Temenos screenings might give a certain number of individuals an experience of freedom that comes from a temporary removal from one’s own environment and immersion in\u0000 the different scale of time that Markopoulos’s Eniaios provides.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48960009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Like much of the United Kingdom, arts communities in the South East were largely paralysed during the lockdown in spring 2020 through the temporary closure of venues in Brighton, the Towner Eastbourne, the De La Warr Pavilion Bexhill, Hastings Contemporary and Hastings Museum, and numerous smaller arts, music and theatre venues along the coast. Many gallery staff were on furlough and online content tended to be provided by larger institutions elsewhere, apart from grassroots activities such as Hasting’s Isolation Station broadcast on Facebook. The closure of arts institutions all along the East Sussex Coast and the absence of their habitual signalling felt like an inverse phenomenon and uneasy foreboding. grounded was devised in response to this regional silence and the curators, Claudia Kappenberg and Fiontán Moran reflected on the project for MIRAJ.
与英国大部分地区一样，东南部的艺术界在2020年春季的封锁期间基本上处于瘫痪状态，布莱顿、Towner Eastbourne、De La Warr Pavilion Bexhill、黑斯廷斯当代和黑斯廷斯博物馆以及沿海地区许多较小的艺术、音乐和戏剧场所暂时关闭。许多画廊的工作人员都在休假，网上的内容往往是由其他地方的大型机构提供的，除了黑斯廷斯在Facebook上播放的《隔离站》(Isolation Station)等草根活动。东苏塞克斯海岸所有艺术机构的关闭，以及它们惯常信号的缺失，感觉像是一种相反的现象和令人不安的预兆。ground是为了回应这个地区的沉默而设计的，策展人Claudia Kappenberg和Fiontán Moran为MIRAJ反思了这个项目。
{"title":"Reflecting on grounded: A lens on COVID through Screendance","authors":"C. Kappenberg, Fiontán Moran","doi":"10.1386/miraj_00040_1","DOIUrl":"https://doi.org/10.1386/miraj_00040_1","url":null,"abstract":"Like much of the United Kingdom, arts communities in the South East were largely paralysed during the lockdown in spring 2020 through the temporary closure of venues in Brighton, the Towner Eastbourne, the De La Warr Pavilion Bexhill, Hastings Contemporary and Hastings Museum, and numerous\u0000 smaller arts, music and theatre venues along the coast. Many gallery staff were on furlough and online content tended to be provided by larger institutions elsewhere, apart from grassroots activities such as Hasting’s Isolation Station broadcast on Facebook. The closure of arts institutions\u0000 all along the East Sussex Coast and the absence of their habitual signalling felt like an inverse phenomenon and uneasy foreboding. grounded was devised in response to this regional silence and the curators, Claudia Kappenberg and Fiontán Moran reflected on the project for MIRAJ.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45705782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Arctic Cinemas and the Documentary Ethos, Lilya Kaganovsky, Scott MacKenzie and Anna Westerstahl Stenport (eds) (2019)Bloomington, IN: Indiana University Press, 384 pp.,ISBN 978-0-25304-029-9, h/bk, $85.00ISBN 978-0-25304-030-5, p/bk, $36.00
{"title":"Arctic Cinemas and the Documentary Ethos, Lilya Kaganovsky, Scott MacKenzie and Anna Westerstahl Stenport (eds) (2019)","authors":"Ruth Maclennan","doi":"10.1386/miraj_00057_5","DOIUrl":"https://doi.org/10.1386/miraj_00057_5","url":null,"abstract":"Review of: Arctic Cinemas and the Documentary Ethos, Lilya Kaganovsky, Scott MacKenzie and Anna Westerstahl Stenport (eds) (2019)Bloomington, IN: Indiana University Press, 384 pp.,ISBN 978-0-25304-029-9, h/bk, $85.00ISBN 978-0-25304-030-5, p/bk, $36.00","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43131671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"If on a winter’s night a plague","authors":"Shia Heredia","doi":"10.1386/miraj_00036_1","DOIUrl":"https://doi.org/10.1386/miraj_00036_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42268725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Displacements: Reading Space and Time in Moving Image Installations, Alison Butler (2019)","authors":"Catherine Elwes","doi":"10.1386/miraj_00056_5","DOIUrl":"https://doi.org/10.1386/miraj_00056_5","url":null,"abstract":"Review of: Displacements: Reading Space and Time in Moving Image Installations, Alison Butler (2019)Cham: Palgrave Macmillan, 178 pp.,ISBN 978-3-03030-461-4, h/bk, €62.39; eBook, €49.99","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46899953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fall Out footnotes","authors":"C. Yass","doi":"10.1386/miraj_00044_1","DOIUrl":"https://doi.org/10.1386/miraj_00044_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48396315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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