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Found Footage Magazine: Issue 3 Found Footage Magazine: Issue 3

César Ustarroz (Ed) César Ustarroz (Ed)
£17.00

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SPECIAL ON ANGELA RICCI LUCCHI & YERVANT GIANIKIAN:

Yervant Gianikian and Angela Ricci Lucchi: Archive, Technology and Body, by Paula Arantzazu Ruiz 

The work of Yervant Gianikian and Angela Ricci Lucchi is a cinema of catalogue, a cinema that displays previously archived images and shapes an enormous inventory of 20th history century. It has been more than forty years since these Italian filmmakers (Gianikian is of Armenian origin) have been recovering, re-filming and re-editing archived films by means of the analytical camera—a re-visualizing tool made ex profeso to manipulate film footage from different sources, either by cutting original frames, reversing images and revealing their negative, modifying speed or manipulating the montage. In this way, by discovering unusual associations among visual documents from different archives, Yervant Gianikian and Angela Ricci Lucchi create new films. The topics covered in their work are both diverse and recurrent: war, fascism, colonialism and racism, science, technological advancements and violence, as well as the links that surreptitiously connect one topic to another. Among them emerges the human body as a commonplace element of each and every one of these images: men and women whose faces and gestures take on a new breath in this visual re-cataloguing of the archive.

Our Analytical Camera, by Yervant Gianikian and Angela Ricci Lucchi

Pages of a Diary, by Angela Ricci Lucchi

A Letter to Angela and Yervant, by Atom Egoyan


ESSAYS

A Poetics of Care: Slowness, Ethics and Enchantment in Gianikian & Ricci Lucchi’s Oeuvre, by Miriam De Rosa

Re-routing the Image: The Use of Haptic Interventions in Gianikian and Lucchi´s Work, by Arine Kirstein Høgel 

Glitched Media as Found/Transformed Footage: Post-Digitality in Takeshi Murata’s Monster Movieby Michael Betancourt

The Success and Failure of Arthur Lipsettby Stephen Broomer

Harun Farocki and the Archive. What Images Show, What Images Concealby Sergi Álvarez Riosalido

Depicting Cinema(s): Film History as Experiment. Thom Andersen's Los Angeles Plays Itselfby David de Rozas


ARTICLES & INTERVIEWS

· Odds & Ends, by Edwin Rostron

· Benning Goes Digital: An Interview, by Scott MacDonald

· Pretending the Camera Isn´t There: Joshua Oppenheimer’s Postcard From Sun City, Arizona, by Matthew Levine

· Dreams Rewired: A Conversation with Manu Luksch and Makul Patel, by Martin Zeilinger

· Living Memories: Thinking Amateur Filmmaking Practices Through Archive Footage, by Antonin Charret


BOOK & DVD REVIEWS

· Cinema by Other Means (Pavle Levi, 2012)by Nazare Soares

· Verifica Incerta (Gianfranco Baruchello & Alberto Grifi, 1964-1965), by César Ustarroz


ACTIVE ENCOUNTERS, a Conversation Between Alejandro Bachmann and Kevin B. Lee


ARTWORKS by

Joseph Bernard, Jeroen Cluckers, Anja Dornieden & Juan David González Monroy (aka Ojoboca), Thomas Draschan, Siegfried A. Fruhauf, Makino Takashi, Ignacio Tamarit and Guillaume Vallée.  

SPECIAL ON ANGELA RICCI LUCCHI & YERVANT GIANIKIAN:

Yervant Gianikian and Angela Ricci Lucchi: Archive, Technology and Body, by Paula Arantzazu Ruiz 

The work of Yervant Gianikian and Angela Ricci Lucchi is a cinema of catalogue, a cinema that displays previously archived images and shapes an enormous inventory of 20th history century. It has been more than forty years since these Italian filmmakers (Gianikian is of Armenian origin) have been recovering, re-filming and re-editing archived films by means of the analytical camera—a re-visualizing tool made ex profeso to manipulate film footage from different sources, either by cutting original frames, reversing images and revealing their negative, modifying speed or manipulating the montage. In this way, by discovering unusual associations among visual documents from different archives, Yervant Gianikian and Angela Ricci Lucchi create new films. The topics covered in their work are both diverse and recurrent: war, fascism, colonialism and racism, science, technological advancements and violence, as well as the links that surreptitiously connect one topic to another. Among them emerges the human body as a commonplace element of each and every one of these images: men and women whose faces and gestures take on a new breath in this visual re-cataloguing of the archive.

Our Analytical Camera, by Yervant Gianikian and Angela Ricci Lucchi

Pages of a Diary, by Angela Ricci Lucchi

A Letter to Angela and Yervant, by Atom Egoyan


ESSAYS

A Poetics of Care: Slowness, Ethics and Enchantment in Gianikian & Ricci Lucchi’s Oeuvre, by Miriam De Rosa

Re-routing the Image: The Use of Haptic Interventions in Gianikian and Lucchi´s Work, by Arine Kirstein Høgel 

Glitched Media as Found/Transformed Footage: Post-Digitality in Takeshi Murata’s Monster Movieby Michael Betancourt

The Success and Failure of Arthur Lipsettby Stephen Broomer

Harun Farocki and the Archive. What Images Show, What Images Concealby Sergi Álvarez Riosalido

Depicting Cinema(s): Film History as Experiment. Thom Andersen's Los Angeles Plays Itselfby David de Rozas


ARTICLES & INTERVIEWS

· Odds & Ends, by Edwin Rostron

· Benning Goes Digital: An Interview, by Scott MacDonald

· Pretending the Camera Isn´t There: Joshua Oppenheimer’s Postcard From Sun City, Arizona, by Matthew Levine

· Dreams Rewired: A Conversation with Manu Luksch and Makul Patel, by Martin Zeilinger

· Living Memories: Thinking Amateur Filmmaking Practices Through Archive Footage, by Antonin Charret


BOOK & DVD REVIEWS

· Cinema by Other Means (Pavle Levi, 2012)by Nazare Soares

· Verifica Incerta (Gianfranco Baruchello & Alberto Grifi, 1964-1965), by César Ustarroz


ACTIVE ENCOUNTERS, a Conversation Between Alejandro Bachmann and Kevin B. Lee


ARTWORKS by

Joseph Bernard, Jeroen Cluckers, Anja Dornieden & Juan David González Monroy (aka Ojoboca), Thomas Draschan, Siegfried A. Fruhauf, Makino Takashi, Ignacio Tamarit and Guillaume Vallée.  

Additional Info

Additional Info

SKU 2462-2885
Publisher(s) Found Footage Magazine
Editor(s) Ustarroz, César
Format Paperback
Original publication date March 2017
Number of pages 148 pages incl. colour + B&W illustrations

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