6300 Results for “Open ”
-
SXSW Film Festival
Among the many things SXSW is known for — barbecue, the Alamo Drafthouse and long lines, for example — one is breakout apps. Twitter and Foursquare both got enormous boosts from launches or promotions during previous editions of SXSW Interactive. Last year, the buzzword at the tech fest was contextual search and, indeed, you’re seeing that functionality being built into products this year from Apple, Google and others. In 2012, the buzzed-about app heading into the fest was Highlight, a sort of social version of Foursquare. Installed on your phone, it alerts you to other Highlight users nearby. “You can […]
by Scott Macaulay on Apr 17, 2012 -
Sundance Film Festival
The majestic chords of Prokofiev’s Romeo and Juliet blasted through the doors of the New Frontiers exhibition space at Sundance this year, beckoning viewers into a dark room with a wall-size screen and, in a bin, those staples of the modern multiplex, 3D glasses. Donning the glasses, you were confronted with a looped, three-minute mash-up of history as seen through the lens of Hollywood cinema. Composited across the 3D canvas, like some kind of American Museum of Natural History diorama on acid, were the great characters who, by our repeated viewing, resonate as deeply in our consciousness as real historical […]
by Scott Macaulay on Apr 17, 2012 -
Into the Zone: On Geoff Dyer’s Critical Memoir about Andrei Tarkovsky’s Stalker
Originally appearing in our Spring, 2012 print issue, my short report on Zona, Geoff Dyer’s fascinating critical memoir on Andrei Tarkovsky’s Stalker is being reposted today timed to the film’s run at Lincoln Center and forthcoming release by Criterion. — SM My first Tarkovsky film, my gateway picture, was his penultimate, Nostalghia, at the Olympia Theater near Columbia University in Morningside Heights. The seats slanted one way, the screen slanted the other, and there was a leak in the ceiling. Water dripped from the roof into a bucket on the floor, blending into Tarkovsky’s typically excellent sound design of distant […]
by Scott Macaulay on Apr 17, 2012 -
Good Things in Smaller Packages
For those of us excited by the advent of large-sensor motion picture cameras, this past year has been the Great Leap Forward. Signs are everywhere. ARRI’s ALEXA swept TV series production in the U.S. Canon harnessed Hollywood pomp for the November launch of its C300. RED placed an eight-page glossy fold-out to tout EPIC in April’s Vogue (“The camera that changed cinema is now changing fashion”). Sony shipped no less than 100 F65s, the first Super 35 camera with an 8K sensor. A year ago, in “Does Size Matter?” I surveyed the still-budding field of large-sensor cameras for Filmmaker and […]
by David Leitner on Apr 17, 2012 -
Culture Hacker: Igniting the Imagination of Many
by Lance Weiler on Apr 17, 2012 -
Decisive Moments
“All you need for a movie is a gun and girl,” Jean-Luc Godard famously wrote in one of his journals. But, of course, to make a good movie, you need others things too. An observant, imaginative eye helps, as does fresh context and a director’s understanding of the community containing that gun, that girl and, inevitably, the guy who stands behind — or in front of — the trigger. Restless City, the exciting dramatic feature debut of Nigerian-born photographer and music-video director Andrew Dosunmu, has all of these elements, and it mixes them into a hauntingly sensual take on the […]
by Scott Macaulay on Apr 17, 2012 -
Changing Channels
Earlier this year, The New Yorkermagazine hosted a panel discussion titled, “Is Television the New Cinema?” In his opening remarks, The New Yorker’s editor, David Remnick, posed the question, “Television is in the process, in many ways, of eclipsing cinema: True or false?” While the panelists didn’t give a definite answer, it was generally agreed that the TV medium — once considered a mainstream form of “junk storytelling” — has recently blossomed. Journalist Emily Nussbaum noted the rise, beginning in the late ’90s, “of a breed of irascible, aggressive and auteurist TV makers,” and the creation of shows like Buffy […]
by Anthony Kaufman on Apr 17, 2012 -
Brave New Worlds: On Transmedia Worldbuilding
“A linear story had a linear workflow, but now we’re in a nonlinear immersive space,” explained production designer Alex McDowell at a recent Flux 5D event titled “Digital Design and World-building in the Narrative Media Landscape” held at the University of Southern California March 13, 14 and 15, 2012.
by Holly Willis on Apr 17, 2012 -
Parting Shot – Marina Abramovich
The sitter approaches the chair and sits, gazingat the woman directly across the table separating them. There’s a pause as the woman senses that the sitter is there, in the chair. Then the woman lifts her head, opens her eyes and stares directly at the sitter. And at that moment … what? The subtle yet powerful expressions that course through artist Marina Abramovic’s face are near impossible to describe. Warmth, yes. Empathy, surely. But overwhelmingly, just presence. For those moments, the sitter is with Abramovic only. They are present, and there is no one else in the world. “Only connect,” […]
by Scott Macaulay on Apr 17, 2012 -
Prophet Motive
Save for the beard, Vikram Gandhi resembles nothing of his fictional creation Sri Kumaré, “a revered yoga master known to his contemporaries as Adarsha or ‘The Mirror.’ He is the current torchbearer of the Kumaré lineage and a respected, charismatic teacher of Yogic Science. Sri Kumaré is known for his youthful energy, transformative philosophy and divine blessing.” (That’s all from the Kumaré website — yes, Gandhi’s made-up character has his own website.) Instead, Gandhi comes across as the humble and inquisitive New Jersey native that he is in real life — a guy whose mischievous curiosity about humankind’s search for […]
by Lauren Wissot on Apr 17, 2012
