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Posts Tagged ‘Gwendolyn Audrey Foster’

Dixon and Foster – Sla307 Art Space Video Screening

Sunday, November 27th, 2016

On November 12, 2016, Gwendolyn Audrey Foster and I had a screening of our videos in New York City.

Here’s a brief, time lapse video shot by Laura Zavecka of our video show at the Sla307 Art Space on West 30th Street in Manhattan on November 12, 2016. We had a great crowd – notice how a lot of people coming tumbling in the door just as the lights go down – and the projection and the crowd response were excellent. It’s one of the first time these videos, all of which are on Vimeo online, have been projected for an audience. We had another screening of our work on the previous evening, November 11th, at the Amos Eno Gallery in Brooklyn.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.” It was a great evening, and we look forward to more screenings in the future.

Click here, or on the image above to see the video.

Gwendolyn Audrey Foster’s “Men and Machines” Series on Vimeo

Thursday, November 24th, 2016

Gwendolyn Audrey Foster has a new series of videos on the theme of “Men and Machines.”

“The meaning of things lies not in the things themselves, but in our attitude towards them. The machine does not isolate man from the great problems of nature but plunges him more deeply into them.” — Antoine de Saint-Exupery

“It is interesting to view Nature through the lens of construction ’sight’ – after all – is Nature itself not the Mother of all construction sites? I wonder if we have always viewed the world as a potential building site? The binary between these coexistent worlds is not so easily defined. Are domesticated plants and meadows, for example, all that ‘natural’ — or are they not liminal hybrids; both ‘natural’ and ‘artificial?’ Are machines ‘natural’ or hybrid and liminal?

Modern experience of the environment is mediated through a mechanical duo-consciousness. I admire the often breathtaking beauty of ‘Nature’ as an ongoing organic ‘construction site’; but I am also in awe of human industry and construction – particularly our aural and visual resonances – waste and decay in tracings, relics, and ruins.

The ‘Men and Machines’ series invites meditation into the complex relationship between man, machine, and ‘Nature’ – the politics, philosophy and aesthetics of the sights and sounds of industry as they are mechanically mediated and manufactured by the camera eye and ear.” – Gwendolyn Audrey Foster

Videos in the “Men and Machines” series include:

Echo and Narcissus – vimeo.com/187504524

Construction Site – vimeo.com/188719797

Johnny’s Machines – vimeo.com/188380596

Machine – vimeo.com/190509450

Inside – vimeo.com/189477394

Col Bleu – vimeo.com/185865697

Mirror – vimeo.com/184270334

Not – vimeo.com/172252797

Waste – vimeo.com/165976297

Product – vimeo.com/179584124

Selfie – vimeo.com/178762302

Foster’s meditational videos are both moving and insightful – essential viewing.

Dixon & Foster Video Shows in NYC November 11 & 12

Sunday, November 20th, 2016

From The UNL Newsroom: Two New Video Shows in New York City.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.”

We’re grateful to the galleries for inviting us to screen our work, and for the excellent turnout at both shows, especially the Saturday screening in Manhattan. Altogether, we screened some 40 new films in two one-hour programs, with excellent projection and sound, and a deeply appreciative audience. Indeed, since these videos are publicly curated on Vimeo, this was the first time that they’ve been screened in full theatrical format, which was an experience in itself.

Again, thanks to everyone involved for making these programs possible.

Gwendolyn Audrey Foster on Masaki Kobayashi’s “Kwaidan” (1964)

Monday, July 4th, 2016

Gwendolyn Audrey Foster has a new essay out on the classic Japanese supernatural film Kwaidan.

As Foster writes, in part, in the latest issue of Senses of Cinema, “along with Kenji Mizoguchi’s Ugetsu Monogatari (1953) and Akira Kurosawa’s adaptation of William Shakespeare’s Macbeth, Throne of Blood (Kumonosu-jō, 1957), Masaki Kobayashi’s Kwaidan (1964) – aka Kaidan, or ‘ghost stories’ – is one of the peaks of the Japanese cinema during its golden era, and one of the most superbly atmospheric supernatural films ever produced in any country. It’s also a terrific example of how a portmanteau film can work successfully, harking back to Ealing Studios’ multi-director Dead of Night (1945), and gesturing towards the multi-story films of Amicus in the 1960s.

Kobayashi’s filmography as a director isn’t extensive, with only 21 feature films to his credit throughout his entire career, yet each of his projects has an individual stamp that makes them deeply personal. His earlier films are both gritty and introspective, and seem nothing at all like Kwaidan: one of Kobayashi’s most compelling early films is the brutal baseball noir drama I Will Buy You (Anata kaimasu, 1956), in which a young player rises to the top of Japanese professional baseball, revealed to be little more than a racket.

Kobayashi’s other major works include the epic trilogy The Human Condition (1959 – 1961), which clocks in at an astonishing 9 hours and 47 minutes in its entirety, and Harakiri (Seppuku, 1962), a suitably violent and nihilistic samurai film. Most of Kobayashi’s work is in black and white, but in Kwaidan he evokes a world of heavily stylized colour, and creates one of the most sensual and strangely evocative supernatural films ever made. It remains one-of-a-kind not only for Kobayashi, but also for what has been loosely called ‘the horror film’: Kwaidan doesn’t deal in shock imagery, but rather in an ever-mounting sense of psychological dread.

Based on Lafcadio Hearn’s anthology of Japanese tales of the supernatural, Kwaidan: Stories and Studies of Strange Things (1904), the film is structured in four parts. ‘The Black Hair’ follows a warrior who leaves his first wife for a second marriage to gain greater status, only to find the promise of a ‘better life’ is an empty one indeed. ‘The Woman of the Snow’ is a tale of supernatural vengeance in which a woodcutter falls in love with a Yuki-onna, or ’snow woman’ – a spirit who wanders the woods – with unexpected results.

‘Hoichi the Earless’ deals with a blind musician who discovers that he has been unwittingly singing for a family of ghosts, resulting in dire consequences. The last section (which the spectator is invited to complete in their own mind) is ‘In a Cup of Tea,’ the philosophically deepest and most challenging of the tales, in which a writer is continually disturbed by the unexpected sight of a face in – as the title suggests – his cup of tea.

Winner of the Special Jury Prize at the 1965 Cannes Film Festival, and honored with an Academy Award nomination for Best Foreign Language Film the same year, Kwaidan is one of the most sumptuously mounted horror films ever made, shot in moody, otherworldly colour that would be evoked again in Dario Argento’s Suspiria (1977), in true TohoScope ratio 2.35:1 by the gifted cinematographer Yoshio Miyajima, with stunning art direction by Shigemasa Toda.”

You read the entire essay by clicking here, or on the image above – enjoy!

Gwendolyn Audrey Foster’s New Film “Not” (2016)

Monday, July 4th, 2016

Gwendolyn Audrey Foster has a new film, entitled Not (2016).

As she writes of the film, “many billions of years compressed into five minutes – Not is an eco-horror cine-poem about human beings – a brief-lived, relentlessly self-destructive invasive species who once roamed the earth. Many people think apocalypse is something in the future – something out of a sci-fi film involving CGI and cataclysmic events, but ever since I read Silent Spring by Rachel Carson, I understood that environmental destruction of the earth is already happening – apocalypse is well underway.

Environmental apocalypse is often visually unspectacular or invisible. Aside from the visuals of icebergs melting into the sea – it’s often mundane and dull. It is catastrophic – but it can be as boring and mechanically repetitive as the industrial machines of destruction you see working away in this film. There is something weirdly beautiful, haunting, and even lyrical about such machines – they are rich visual metaphors for larger ‘machines’ such as capitalism, patriarchy, etc.

Apocalyptic environmental destruction may be dull and monotonous – but it is all around us, from fracking to mountain top mining – to hoarding and hyper consumption. It is right before our eyes, yet many people are seemingly blind to it. Many do not believe in global warming, yet they cling to some wildly irrational ideas about the supposed coming apocalypse. Irrationality goes hand in hand with apocalyptic thinking. What we ‘are’ seems less important than what we are ‘not,’ in a sense.

Not is a poem that is as much about toxic relationships between humans – as it is a contemplation of our relentless destruction of the earth. The inevitably damaging consequences of our empathy deficient species? The reckless & mechanized destructive nature of end stage capitalism? A siren call to alert us all that Thanatos is destroying Eros? A cry for empathy from the earth itself?  Not is offered as a thought-provoking metonymic poem. The meaning is left entirely up to the spectator. I let my subconscious take over on this one.”

You can view Not by clicking here, or on the image above, on Vimeo in HD.

Gwendolyn Audrey Foster’s New Video – Waste (2016)

Friday, May 13th, 2016

Gwendolyn Audrey Foster’s new video is a mesmerizing look at the earth in peril.

Composed of just a few images, with a brief running time of about 5 minutes, Foster’s video conjures up visions of the ecological system in collapse, or as she puts it in her own words, the film is “a meditation on the relatively small amount of time that human beings have lived on the earth, perhaps from the point of view of a machine.

Inspirations include: Rachel Carson, John Muir, Aldous Huxley, Raymond Scott, Chantal Akerman, Michelangelo Antonioni (Red Desert and La Notte); Denis Côté (Joy of Man’s Desiring and Bestiaire); Straub-Huillet, eco-criticism, speculative science, etc. Read more here in my article “Embracing the Apocalypse: A World Without People” – see this free article download. This film is a coda to my book Hoarders, Doomsday Preppers, and the Culture of Apocalypse.”

Complete Online Index – “A Short History of Film”

Thursday, April 28th, 2016

A scholar in Germany has created a complete online index to A Short History of Film, 2nd edition.

A scholar in Germany has compiled a complete list of all the films mentioned in A Short History of Film, 2nd edition (Rutgers University Press, 2013), written by Gwendolyn Audrey Foster and myself, with images of either the poster, or the DVD for each film, complete with links to reviews, purchase points, and other information on the film – as well as lots of opinions, of course – which seems like rather an amazing undertaking.

All told, the list covers more than 2,000 films, and runs to 21 webpages in the list, and can serve as a very useful way to access the films discussed in the volume. So if you’re reading A Short History of Film, 2nd edition, or using it for a class, and would like detail on access to some of the many films mentioned – the images here show just a few of the many titles covered in the volume – just consult this list, click on the title, and see what’s available.

A very useful guide – many thanks to the person who did so much work on this.

From Criterion Current: Agnès Varda Is Everywhere!

Friday, April 15th, 2016

Gwendolyn Audrey Foster alerted me to this – a new film by the great Agnès Varda! See it here on Vimeo!

As the blog Criterion Current noted on October 9, 2015, “Agnès Varda keeps popping up in the most unexpected places. The indefatigable eighty-seven-year-old filmmaker stopped by our offices this week, along with her daughter, Rosalie, to say hello and fill us in on what she’s been up to. We’re happy to report that this legend of the French New Wave—and beyond—shows no signs of slowing down.

Varda was especially delighted to talk about a short film she had recently made for Women’s Tales, an online series produced by the Prada brand Miu Miu (other directors in the series include Lucrecia Martel, Ava DuVernay, Miranda July, and So Yong Kim). Varda’s magical contribution, Les 3 boutons (The 3 Buttons), which also showed at the Venice Film Festival in September, was shot in the village of Bonnieux, in southeastern France, as well as on rue Daguerre in Paris, where Varda has lived for half a century.

A wry commentary on girlhood and fashion with a fairy-tale feel, the film traces the whimsical adventures of a country girl who receives a mysterious package. Varda excitedly told us about this lush production: ‘Given the budget, I was free to make whatever I wanted.’ And she was especially tickled by the resources she was given for one particular shot, in which a button floats down a stream before disappearing beneath a sewer grate: ‘Can you imagine having a grip for an afternoon to shoot a button traveling in the water? I felt so blessed to have the money to do that, most of the time I don’t have money to do a third take!’

Varda also discussed her next project, and it’s an exciting one. She is teaming up on a film with the French artist JR (pictured at top), who is well-known for his gigantic photographs of people, which he installs in public spaces—on the exterior walls of buildings and on outdoor stairways, for instance. (They are not unlike the murals Varda documented in Los Angeles for her 1981 film Mur murs.) After being invited to JR’s studio, where she came face-to-face with a large photograph of herself that was taken in 1960, Varda knew immediately that she wanted to work with him. This past summer, the pair crowd-sourced funding for a film, now in preproduction, to be shot in Provence.

We also had to share one last thing with you that Varda shared with us. Fashion designer Agnès B. has been commissioning posters from artists for years for a journal she publishes, called Le point d’ironie. For its fifty-seventh issue, Varda designed the cover, using an image of a mailman in Bonnieux, who is featured in Les 3 boutons, beside an enormous photo of him by JR. It’s Varda’s big world—we just dance in it.”

Varda has managed to outlast all of her contemporaries in the world of French cinema since the 1950s, and as far as I’m concerned, is clearly the first and foremost founding member of The Nouvelle Vague, or French New Wave, whose more celebrated members include Jean-Luc Godard, Jacques Demy, François Truffaut, Éric Rohmer, Claude Chabrol, and Jacques Rivette. During the heyday of The New Wave, many of Varda’s most beautiful films were shunted to the side, and didn’t really achieve the success they so clearly deserved – but now, through sheer tenacity and longevity, Varda is at last placing herself at the center of the movement she was instrumental in creating.

You can watch Varda’s magical film right now on Vimeo – click here, on the image above.

“Consuming the Apocalypse, Marketing Bunker Materiality” by Gwendolyn Audrey Foster

Thursday, March 17th, 2016

Gwendolyn Audrey Foster has published a new article in Quarterly Review of Film and Video.

Foster’s article, “Consuming the Apocalypse, Marketing Bunker Materiality” has just appeared in the latest issue of Quarterly Review of Film and Video (March 17, 2016), in which she argues that “there are two parallel social movements that may, at first glance, seem unrelated, but are in fact closely intertwined; the rapid increase in economic inequity in contemporary society (as evidenced in the enormously wide gap between the wealthy and the poor) on the one hand, and the current apocalyptic cultural mindset (associated with paranoia, prepping, the rise of the gated community, the return of the underground bunker, and a massive uptick in gun sales) as celebrated in myriad apocalyptically-themed films and television programs, programs I define as apocotainment.

The upwardly mobile class and preppers have more in common than one might think, and in some ways the two groups have even merged; what brings these two identities together is a decided lack of empathy for others and a sense of free-floating paranoia, centering on a crisis in masculinity, whiteness, and a fascination with Doomsday scenarios.”

Needless to say, this is a very timely essay, and expands on Foster’s work in her 2014 book Hoarders, Doomsday Preppers and the Culture of Apocalypse, which explores the current American, and indeed worldwide fascination with an ever expanding universe of Doomsday scenarios. The current vogue for “end of the world” or “end of civilization” narratives has taken hold of practically every area of the public consciousness, and Foster’s article examines the ways in which this cultural trend has moved to the center of contemporary public discourse.

Here’s a link to the article; fascinating reading in every respect.

Tom Cabela – UNL Film Studies Alumni – Builds Major Career

Friday, March 4th, 2016

Tom Cabela, a UNL Film Studies Alumni, has built himself a brilliant career in Hollywood.

As Erin Chambers writes on the UNL English Department website in an article posted today, “Tom Cabela was one of the first Film Studies Majors at UNL in the late 1990s, and has since gone on to a stellar career in Hollywood, with great personal and professional success.

Interested in film since childhood, Cabela started making his own films in while attending Lincoln Southeast High School, where he helped found Southeast’s first film program. He soon realized he wanted to pursue a career in filmmaking, and decided to come to UNL after graduating.

Cabela joined the Film Studies Program at UNL, where Professors Gwendolyn Audrey Foster and Wheeler Winston Dixon helped shape the way he viewed and analyzed cinema. They also helped prepare him for the rigors of the industry and in finding his own artistic voice.

‘Professor Foster was always so encouraging and supportive, and really helped shape me intellectually and as a person,’ says Cabela. ‘Thanks to her I was one step ahead on post-modern and feminist film theory when I got to the University of California. Professor Dixon also helped prepare me for the demands and high expectations of the industry. His lessons have always held me in good stead.’

After graduating from UNL in 2001, Cabela moved to Santa Cruz and completed the production program at the University of California, Santa Cruz. He then moved to Los Angeles, where he worked briefly for production designer Jennifer Williams. Williams introduced him to a friend, Oscar nominated editor Peter Honess, who soon hired Cabela as a Post Production Assistant.

Honess and his team trained Cabela, got him into the union, and brought him up to assistant editor. As a part of that team, Cabela worked on films like Percy Jackson and the Lightning Thief, Aeon Flux, and Poseidon. He also worked on Blades of Glory, Get Smart, and Red Dawn under editor Richard Pearson.

Eventually he went to work for James Cameron’s company C.P.G., where Cameron and his partner Vince Pace trained him as a stereo (3D) picture specialist. There, he worked on Transformers 3, Sin City 2, Walking with Dinosaurs, Cirque Du Soleil, and others.

However, the 3D ‘bubble’ soon burst, and he found himself looking for work elsewhere. His background in 3D/VFX as well as editorial made VFX Editing a perfect fit. Since becoming a VFX Editor, Cabela’s editing and visual effects work has appeared in Entourage the Movie and the new Todd Phillips film War Dogs.

He continues to make his own films, which have shown at festivals like Mill Valley, Sarasota, and South by Southwest. You can view samplings of his work on Vimeo. But for Cabela, this is only the beginning. “Who knows what the future holds?” Cabela wonders. “The possibilities are limitless.”

Indeed they are – this is just the beginning for Tom – who knows what will come next?

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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