Peter Hutton's Three Landscapes Medium Matters

At the annual Society for Cinema and Media Studies (SCMS) conference, held in late March in Seattle, many of the conversations and panel discussions revolved around the disciplinary status of cinema, film, media, and screen studies. The cluster of terms jostling for territory in the conference’s program guide points to the crisis of identity sparked by the sweeping expansion of digital media, the emergence of the digital humanities, and the waning of actual film materials – 16mm film stock, film cameras, film editing systems – in “film” schools. “Film has died,” asserts the New School’s McKenzie Wark. “It’s decomposing. But…  Read more

Primal Direction

Meaning. The craving for meaning. Art and its ability to create experiences of meaning. Whether they seem all too prosaic or winsomely sincere, these words nevertheless constitute the unabashed core of an intensive, 17-session filmmaking lab series housed in a large, high-ceilinged studio in Hollywood and led by an impassioned woman named Joan Scheckel. In practical terms, the lab sessions are dedicated to helping filmmakers clarify their vision, hone their craft and develop a functional set of tools for the production process, which is all well and good. But what makes the lab sessions extraordinary is Scheckel herself. Over the…  Read more

Big Data and the 25 Best Film Schools

Big Data — the term is everywhere right now. Sometimes used as a shorthand for the companies that are in the business of collecting, aggregating and sifting through large data sets (often comprised of personal info), it more properly refers to the data sets themselves — collections of information so gigantic they require advanced technologies to interpret. There’s much creepy potential in Big Data, but it is here to stay. The question, then, is whether the technologies of Big Data can be marshaled for progressive and creative goals. At Arts Fwd, Erinn Roos-Brown argues that arts organizations can learn from…  Read more