A Boy and His Dog, The Road and even the risibile The Postman (RIP Tom
Petty) all have at least one (montage) sequence of vistas.
And of all things, Charlotte Gray (with Cate Blanchett) has some wonderful
green/red leitmotifs as she walks through the European countryside near the
end of the film.
Apologies if it’s been mentioned before (I took a quick glance at the reply thread) but Bobby Beausoleil made music for Kenneth Anger’s Lucifer Rising (1972). It’s quite compelling despite the musician’s, er, biography. Also, along the same “deep ambient” spectrum of music, Jefre Cantu-Ledesma
of affairs?
Salah Hassanpour
From: Fred Camper
Sent: April 11, 2018 22:28
To: Experimental Film Discussion List
Subject: Re: [Frameworks] Forwarded from Massart Faculty
Yes. Wow is right. I was the first to express sympathy, and anger that a
film showing to a class could have been an issue
Clintonite tone-policing does not have much business in academia. I hope
I'm not the only one who feels this way.
Being expected to enable and coddle dysfunctional reactions to
confrontational rhetoric (reactions that themselves seem borne of a
generalised disorder, highly-mediated by alienating
Robert Beavers' A Pitcher of Colored Light (2007)
Salah Hassanpour
On Feb 3, 2016 10:27, <nicky.ham...@talktalk.net> wrote:
> If you're going to show Tacita Dean you should also consider
> Disappearance at Sea, parts one and two which, if I'm not mistaken, are
> films of lig
If you can track down a copy of Gregory La Cava's *His Nibs* (1921), it's a
formally-sophisticated satire of projectionists who cut/censor film prints
for their own purposes.
On 7 January 2013 09:55, Pigott, Michael michael.pig...@warwick.ac.ukwrote:
Hello there,
I'm trying to compile a list
