On the year’s first honest spring day, I watched an old Honey Locust cleave the roof of a parked car in the West Village, just next to the home of famed composer Ryuichi Sakamoto.
1968 set Godard on a path upon which radical political and cinematic experimentation were inextricable from one another. What resulted was a series of films that explored different modalities of cinematic politics, celebrated as much for their militant commitment as they were vilified for the tortured aesthetic transformations they wrought upon cinematic norms.
Frames of Representation’s founding mission was to bring “new forms of documentary cinema” to London’s Institute of Contemporary Arts, but this mandate felt a little looser for the festival”s third edition.
Virtual Reality,” “Immersive,” “Augmented Reality”—these monikers have been buzzed about for decades, often promising to “revolutionize” the flat-screened media environment but perennially not living up to the hype or finding a commercial or artistic niche that works.