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Adolfas Mekasfilmmaker, teacher, and co-founder (with his brother Jonas) of the influential magazine Film Culturedied on May 31, 2011. The Brooklyn Rail asked Mekass fellow filmmakers, colleagues, students, and friends to share their thoughts and reminiscences about his life and work.
Some men, when they laugh, sound like geese hissing, others like grumbling goslings; some recall the sigh of woodland pigeons, or doves in their widowhood; others the hoot-owl; one an Indian rooster, another a peacock; others give out a peep-peep, like chicks.
Over the span of his career, Errol Morris has been two different directors. One is an epistemologist, a clear-eyed, if somewhat bemused, analytical philosopher, whose main preoccupations are the nature of truth, the limits of evidence, the fallibility of perception and the pitfalls of self-delusion. The other is an ethnologist of vernacular American craziness.
The French are the inventors of the fairy tale: Charles Perrault founded the genre in the 17th century with Little Red Riding Hood, Bluebeard, Cinderellaand, of course, The Sleeping Beauty.
Melanie Gilligan’s Popular Unrest (2010) opened this year’s Migrating Forms with a pointed set of questions: Is it relevant to render human stories in a traditional moving-image format? (Arguably not.) Can a movie portray the abstractions of capital amidst an increasingly global, savage monetarization of physical life?