Monthly Archives: February 2013

Kevin Carter's Pulitzer prize photo of Sudanese boy and vulture

Lens Choice, Death and Suicide

This oft-seen photograph of two figures – the starved collapsed child like a fetus and the scavenger awaiting nourishment – contains a third figure, one so visible that we do not see it. This figure is of course that of

Kevin Carter's Pulitzer prize photo of Sudanese boy and vulture

Lens Choice, Death and Suicide

This oft-seen photograph of two figures – the starved collapsed child like a fetus and the scavenger awaiting nourishment – contains a third figure, one so visible that we do not see it. This figure is of course that of

Ali, Fear Eats the Soul

fragment 0005: Rainer Werner Fassbinder

This is where Hitler used to eat, from 1929 to ’33. I’ve always wanted to come here. Hitler, you know? -Hitler, yes. Let’s just order the most expensive things on the menu. The best soups, the best starters. Or do

Ali, Fear Eats the Soul

fragment 0005: Rainer Werner Fassbinder

This is where Hitler used to eat, from 1929 to ’33. I’ve always wanted to come here. Hitler, you know? -Hitler, yes. Let’s just order the most expensive things on the menu. The best soups, the best starters. Or do

Francis Bacon, Three Studies of Isabel Rawsthorne, Neue Nationalgalerie Berlin

Francis Bacon’s ectoplasmic shadow

Bacon’s regard originates outside of time. His paintings are like superimposed transparencies, containing and revealing time’s layers, including the ones which exist only in the realm of possibility. This agglomeration of temporalities always refers to a single, human time –

Francis Bacon, Three Studies of Isabel Rawsthorne, Neue Nationalgalerie Berlin

Francis Bacon’s ectoplasmic shadow

Bacon’s regard originates outside of time. His paintings are like superimposed transparencies, containing and revealing time’s layers, including the ones which exist only in the realm of possibility. This agglomeration of temporalities always refers to a single, human time –

Louis Ferdinand Céline

fragment 0004: Louis-Ferdinand Céline

I don’t like informality… All this drunken flesh sickens me… I get some funny ideas myself… I ain’t drunk!… I never drink… It’s reason that makes me stagger… under the whacks of circumstance! that’s it! events that are just too

Louis Ferdinand Céline

fragment 0004: Louis-Ferdinand Céline

I don’t like informality… All this drunken flesh sickens me… I get some funny ideas myself… I ain’t drunk!… I never drink… It’s reason that makes me stagger… under the whacks of circumstance! that’s it! events that are just too

Berlinale endnotes

Imagine a chamber. Its location is virtual, and space infinite. Inside this chamber all the cinematic figures continue to live on beyond the infinitesimal time of their projection. Once they complete their suite of premeditated movements at 24 frames a

Berlinale endnotes

Imagine a chamber. Its location is virtual, and space infinite. Inside this chamber all the cinematic figures continue to live on beyond the infinitesimal time of their projection. Once they complete their suite of premeditated movements at 24 frames a

Harmony Lessons

Uroki garmonii (Harmony Lessons)

Harmony Lessons has the feeling of being hand-crafted shot-by-shot, scene-by-scene, like the Kazak rug across which young Aslan slides his finger, tracing its repeating forms to its center. Objects, spaces, gestures, symbols, are all woven into the film’s fabric, creating

Harmony Lessons

Uroki garmonii (Harmony Lessons)

Harmony Lessons has the feeling of being hand-crafted shot-by-shot, scene-by-scene, like the Kazak rug across which young Aslan slides his finger, tracing its repeating forms to its center. Objects, spaces, gestures, symbols, are all woven into the film’s fabric, creating

Pozitia Copilului - Child's Pose

Pozitia Copilului (Child’s Pose)

From the first frame until the very last the camera obsessively centers itself around Claudia, the jewelry-bedecked, domineering, fifty-plus matron of an upper-class Romanian family. We circle around Claudia, the film’s central axis, as she imperiously navigates her middle-aged indolent

Pozitia Copilului - Child's Pose

Pozitia Copilului (Child’s Pose)

From the first frame until the very last the camera obsessively centers itself around Claudia, the jewelry-bedecked, domineering, fifty-plus matron of an upper-class Romanian family. We circle around Claudia, the film’s central axis, as she imperiously navigates her middle-aged indolent