Millennium Film Journal

Articles from No. 50, Fall

David Gatten at Hallwalls, Buffalo, May 2005
I'd like to say thank you to Joanna and to the curators from Beyond/In WNY biennial. It's exciting to be able to bring work to Buffalo, and so this feels like a special occasion for a couple of reasons. This is a cycle of nine films that I've been working...
Excrements of Time: George Kuchar's Videos
George Kuchar and his twin brother Mike began making small gauge films as teenagers in the Bronx. These films clumsily reconstruct and restage the tawdry melodrama and cheesy horror of Hollywood B movies. I can't resist listing some titles: The Wet Destruction...
Frequencies: An Interview with Jason Boughton
Here is a first person protest against the foreign ventures of American empire, a demonstration of video rooted in the body, as a body, walking into funeral grounds and across streets where his kind has been before, slowing things down so he can understand,...
Hand Cranked: A Conversation with Filmmaker Lee Krist
Alex MacKenzie: Maybe we can start off by discussing your body of work and how hand cranked material fits into it. Is this a natural progression from other pursuits?Lee Krist: My use of a hand cranked camera originated in my current experimentations...
Jennifer Reeves at Cinematheque Ontario, Fall 2004
Susan Oxtoby: The Time We Killed premiered at the Berlin International Film Festival where it received the FIPRESCI award for best feature, and then picked up an award at Tribeca Festival in May of this year for best New York narrative film. I want to...
Light Waves and Their Uses
Long filmstrips of ink-speckled acetate hang from racks in a corner of artist Bruce McClure's Brooklyn loft. Shelves are packed with film reels and cans. McClure, sitting behind a table in the back of the room, prepares to fire up one of four film projectors...
Long Live Experimental Everything: An Interview with Julie Murray
She should have been a writer, or at least: and a writer. She lenses it all up with precision, and makes of her meager picture harvests a maximum yield. But the way she writes about these interior musings are bedtime stories for the Avant Garde. Her...
Talking to the Periphery: Lonnie Van Brummelen
"What changes our way of seeing the streets is more important than what changes our way of seeing painting." -Guy DebordIn 2005, Lonnie van Brummelen was awarded the prestigious Prix de Rome in her native Netherlands for Lefkosia, the third installment...
The Art of Looking: An Interview with Deborah Stratman
When she raises her camera, seeing is already thinking. Yes sure there is the raw delight in watching the light well up inside the body of the visible, but always these views are pointed (in the Roland Barthes sense of the punctum, they are sharp, they...