ZULETA’S B SIDE

ZULETA’S B SIDE

Josetxo Cerdán, curator of the A/Z: Zulueta inédito (A–Z: Zuleta unreleased) cycle (which is continuing every Friday in June at the Filmoteca de Galicia) and director of the Filmoteca Española at the time the Zulueta archive was acquired which has given rise to the...

HANGJUN LEE. THE PROJECTOR AS INSTRUMENT

HANGJUN LEE. THE PROJECTOR AS INSTRUMENT

Experimental Film in Korea Except in Japan, in all the Asian countries is kind of the same: We don't have a proper education, we don't really have a proper archive or other infrastructure to understand experimental cinema. I attended a film workshop only for narrative...

JULES ENGEL, POST-MODERNIST

JULES ENGEL, POST-MODERNIST

As regards the carte blanche for Light Cone, structured by Miguel Armas based on colour, here we have a textby the filmmaker and expert in visual music William Moritz about Jules Engel, one of the filmmakers present in the selection.  Jules Engel's films, uniquely...

ANTHONY MCCALL ON LINE DESCRIBING A CONE

ANTHONY MCCALL ON LINE DESCRIBING A CONE

Line Describing a Cone was made in August 1973, a few months after I sailed from England to the United States. I had been thinking about it for nearly a year in London, I conceived it mid-Atlantic, and I produced it in New York. By 1973, I had already made a number of...

BARBARA STERNBERG: MIDST

BARBARA STERNBERG: MIDST

The second session dedicated to Sternberg's work covers another of her feature films, Midst (1997). Below is part of the interview that the filmmaker Mike Hoolboom (who has done significant work documenting experimental cinema) did with her about her films in the...