Millennium Film Journal

Articles from No. 61, Spring

Amie Siegel: Provenance
AMIE SIEGEL: PROVENANCEMetropolitan Museum of Art, New YorkJune 23, 2014 - January 4, 2015Playful monkeys climb up the façade of a concrete building bathed in yellow light as the camera tracks slowly past a serene reflecting pool. This enigmatic image...
Cut to Swipe
CUT TO SWIPEMuseum of Modern Art, New YorkOctober 11, 2014 - May 25, 2015Cut to Swipe, curated by MoMA's new Chief Curator Stuart Comer, displays recent acquisitions from the department of media and performance art. The exhibition moves between analog...
Duchamp Du Film: Duchamp in the Field of Film
DUCHAMP DU FILM: DUCHAMP IN THE FIELD OF FILMCentre Pompidou, Paris, FranceSeptember - October, 2014As the performance artist Bruce McClure, a participant at the Duchamp du Film show in Paris, said after the film ended, "I cannot let it go. I have to...
Film Independents and Japanese Underground Cinema: An Interview with Tomohiro Nishimura
In January 2008, Yuiko Matsuyama and Takashi Ishida, filmmakers based in Tokyo, invited me for dinner at a restaurant in Shibuya, where I met Tomohiro Nishimura for the first time. They introduced him as a scholar of cinema and photography with expertise...
Glancing Outward: Notes on the New Historicist Film
"History, like pornography, couldn't really begin until photography was invented. Before that, every account of events is merely somebody's panting prose fiction. Have you ever read Herodotus' description of a crocodile? It is the Fanny Hill of zoology."...
In Memoriam: Howard Guttenplan (1934 - 2015)
"OKAY. WE'RE mAKING PROGRESS." HOWARD GUTTENPLAN: A mEmENTO"Okay. We're making progress." Howard must have said this to me at least once a week during the years that I worked at the Millennium on East 4th Street in the 1970s. Sometimes he would say this...
Introduction
Howard Guttenplan died on February 28th, when we were in the final editorial stages for this issue. It came as a shock to me. I knew he had been ill for some time, having resigned from the directorship of the Millennium Film Workshop a few years ago,...
LEVIATHAN'S LABORS LOST, Or: WHO WORKS AFTER THE SUBJECT?
Monumental in ambition, Lucien Castaing-Taylor and Véréna Paravel's 2012 documentary Leviathan is hardly monolithic. Like the famous frontispiece of Hobbes's treatise, the film contains unruly multitudes. The fluidity of its mobile gaze and its hidden...
Patty Chang & David Kelley: Flotsam Jetsam
PATTY CHANG & DAVID KELLEY: FLOTSAM JETSAMMuseum of Modern Art, New YorkMarch 15 - September 28, 2014This fall, the Museum of Modern Art loop-screened a 30-minute 2007 film in the lobby of its basement-level film theater and hung a series of color...
Shelly Silver: Touch
SHELLY SILVER: TOUCHA voice speaks to us in Chinese, subtitles translate his words into English. The screen is blank, and then we see a man's eye looking out at us from a blackand-white photo, cropped within the black frame. We hear spare phrases, one...
The Ocean Is Our Prairie
What belongs to water belongs to blood ...Whole families have journeyed here,they continue the lineThe bottom line-Robert Sullivan, from Star Waka1The islands of New Zealand (Aotearoa) lie at the south-west corner of the Polynesian Triangle, an oceanic...
Today's Celluloid Filmmaking in Japan: Interview with Akira Mizuyoshi
The first time I met Akira Mizuyoshi in 2004, I was volunteering for Brakhage Eye 2003-04, which was organized by Mistral Japan, a distribution company for which he has been the chief executive officer since 1998. It was a series of retrospective screenings...
Transient Landscape
In experimental film and video works over the last fifty years, ideas of nature have appeared through momentary images in the motion of light and color. An incompleteness among elements of structure and montage creates a form of reflection, where the...
Videoportraits by Joan Logue
VIDEOPORTRAITS BY JOAN LOGUERyan Lee Gallery, New YorkOctober 16 - November 15, 2014The uncanny ability to capture the numinous essence of a subject is not often discovered in even the greatest portraiture. One finds this mysterious quality in virtually...
Why Film Here? DISLOCATION AND SOLACE IN THE WORK OF MARK STREET
Mark Street started making movies over 30 years ago-he has made over 25-and has given much more to experimental and art film than the critical record suggests. On one side of Street's group of far-ranging creations are experimental films such as Winterwheat...
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