... if one spends a considerable amount of isolated quiet time alone, working on a serious bodyofwork that may at some point in the future be criticized, and addressed, outside of a basement mise en scene.
but then again, fashion changes all of the time.
adios. bye. tata for now. c u latr (sic) alligator.
P.S. Jane found that a seminar that addressed the act of reading as a part of contemporary practice was very helpful in thinking about cinematic interpretations of the written word ...
"Meeting" was the first experimental installation work shown to Jane under the education of avante-garde professor J Rubin during art school. "Meeting" remains as a long-term static installation piece to sit through and experience at PS1 MoMA. interesting huh? Stationary timeflies even when you ain't having any fun. bye.
Green Party presidential candidate Jill Stein, along with her vice-presidential running mate Cheri Honkala, were arrested at Hofstra University outside the venue of tonight's debate between President Obama and Mitt Romney.
Stein and Honkala attempted to enter the debate hall on Long Island,NY without "credentials" in their protest of being excluded from the debate. bye. ...Oh, so now your question to Jane concerns an overall summation of the temperature in New York City after the allowed debaters returned their chubby moderator's loaned microphones in...Jane says to enjoy this image while watching Big Bird re-runs on free public access television...
"Here's the miracle -- despite the closing of film labs all over the country, despite the fact that many people think film almost doesn't exist anymore, despite everything having gone back socially to about where it was in the late '40s or early '50s, there are more young people who are more purely dedicated to film as an art than in the '60s at its height." - Jane Public
p.s.FREE photography classes are available now in the Bronx for teens...
p.s. Anthology Film Archives are nowdistributing the 16mm films of underground cinema legend George Kuchar. This special distribution collection contains many of George’s best known works (including HOLD ME WHILE I'M NAKED, THE MONGRELOID, and I, AN ACTRESS)along with numerous rarely screened titles made in the 1960s, ‘70s and ‘80s. While Anthology typically only loans works from its collection to archives, museums and select venues capable of archival film projection, the 16mm George Kuchar prints are being made available for wider classroom and theatrical booking. Please note that prints must be booked 6 weeks prior to any scheduled screening.
p.s. Tangy Taffy was the sugar candy ingested by one of the two VP candidates prior to the heated debate. I sent it to him in a halloween gift bag. I have a big heart. made out of marshmellows. bye.
p.s. Jane wants you to remember that most stereoscopic methods present two offset images separately to the left and right eye of the viewer. These two-dimensional images can then combined in the brain to give the perception of 3D depth...you can make these things out of wood...see...(please don't stare too long at my hand)...
p.s. watchin' a new doc that was just added on Netflix, "Gerhard Richter Painting." bye again. p.s.s. and oh yes, the LOVETT performance art show was extraordinary. inspiring. painting in motion. see for yourself.................
Esther Shub was a master of the "compilation" film. She hunted down film material and contructed her works from "found footage" materials at an editing desk. In essense, the editing machine became her canvass to paint with, doing what is usually done in Post-Production stages. Esther Shub’s film work was introduced by artist and writer Hito Steyerl, who briefly lectured on the implications of Shub’s practice, entitled “The Woman at the Editing Desk” and "The Wretched of the Screen"...
Esther Shub was born in Moscow and made her films In Russia. As directors traditionally do their own editing, famous film editors are rare. A great exception to this rule was Esther Shub. After gaining her reputation and experience in the early 1920s on the strength of her reediting of foreign productions and a dozen Soviet features, she became, largely on her own initiative, a pioneer of the "compilation" film , producing work that has seldom since been equaled. She brought to this genre far more than her speed, industry and flair; she brought a positive genius for using all sorts of ill-considered odd bits of old footage as a painter uses his palette, using them as if they had all been especially shot for her. In creating her first two brilliant compilations, The Fall of the Romanov Dynasty and The Great Road, about the first decade of the revolution (both released in 1927), she scavenged everywhere with indefatigable determination. Old newsreels, amateur footage shot by the imperial family and their friends, official footage from a pair of official imperial cinematographers, storage facilities (cellars, vaults, and closets) of wartime cameramen were all investigated by Shub. She even managed to purchase valuable material from the United States. All of this was against the original reluctance of her studios to go ahead with these projects, and they refused to recognize her rights as author when she had finished the films.
Shub originally planned a film biography of Tolstoy as her third work, but even she failed to dig out more than a few hundred feet of material. Undaunted, she wove the footage she did secure in with other early fragments with great effect, emerging with The Russia of Nicholas II and Lev Tolstoy.
Photograph by Jane Public/Canon60D
With the advent of sound Shub made an abrupt change in her methods. For K-SH-E (Komsomol Leader of Electrification) she created her own version of the Communist Hero young, passionate and dedicated, complete with high-necked Russian blouse and leather jerkin. She forsook her cutting table to become a sort of investigative journalist, deliberately turning her back on archival material, sweeping generalizations, and bravura montage. Instead, she forged a new, original style of ultra-realism, predating by 30 years many of the practices and theories of cinema verite. Forty years later a Soviet film historian was to chide her for indulging herself with a contemporary enthusiasm for the future of sound film and with the peculiar cult for film-apparatus. This was because she opened the film in a sound studio full of every kind of cinematic machinery with what she termed a parade of film techniques, and occasionally cut back to this theme throughout the production. She purposely included shots in which people looked into the lens, screwed up their eyes at the arc-lamps, stumbled and stuttered in front of cameras and microphones visible in the scenes, and, in general, tried to augment reality by reminding the audience that the crew and camera were actually there instead of pretending that they were part of some all-seeing, omnipotent but unobtrusive eye.
Another important Shub film was Spain, a history of the Spanish Civil War. This work was seen once again as an editors film. Put together from newsreels and the frontline camera work of Roman Karmen and Boris Makaseyev, the film featured a commentary by Vsevolod Vishnevski, who also collaborated on the script. In the following year Pudovkin collaborated with Shub on her compilation Twenty Years of Soviet Cinema, a history of the Soviet industry. She continued her documentary work through the war years and into the late 1940s. She inspired Jane Public quite a bit, providing to Jane a quaint reminder that anything is possible in cinema if you just keep on searching for whatever available material is near you and keep on sniffing around for flaming ideas.
Although as a woman and an editor she perhaps suffered some bureaucratic indifference and obstruction (they only join pieces of film together), Shub was an influential filmmaker who deserves at least a niche in the Soviet film pantheon alongside such other originals (in both senses) as Pudovkin and Eisenstein, who certainly appreciated her work. I (Jane) appreciate her work btw, so bye.
This report below describes how thousands of people with mental disabilities are forced to live in psychiatric institutions and spiritual "healing" centers, often against their will and with little possibility of challenging their confinement. In psychiatric hospitals, people with mental disabilities face overcrowding and unsanitary conditions. In some of the spiritual healing centers, popularly known as prayer camps, they are often chained to trees, frequently in the baking sun, and forced to fast for weeks as part of a “healing process,” while being denied access to medications.
The report also highlights the challenges of people with mental disabilities who live in the community, who face stigma and discrimination and often lack adequate shelter, food, and healthcare...
The figs on the fig tree in the yard are green;
Green, also, the grapes on the green vine
Shading the brickred porch tiles.
The money's run out.
How nature, sensing this, compounds her bitters.
Ungifted, ungrieved, our leavetaking.
The sun shines on unripe corn.
Cats play in the stalks.
Retrospect shall not often such penury-
Sun's brass, the moon's steely patinas,
The leaden slag of the world-
But always expose
The scraggy rock spit shielding the town's blue bay
Against which the brunt of outer sea
Beats, is brutal endlessly.
Gull-fouled, a stone hut
Bares its low lintel to corroding weathers:
Across the jut of ochreous rock
Goats shamble, morose, rank-haired,
To lick the sea-salt.
Trivia: The toy pixelvision camera used to make this film was purchased by LENA DUNHAM from filmmaker Joey Huertas for $100 before the release and success of her film, "Tiny Furniture." Lena now stars and produces HBO's program, "GIRLS."
Unfortunately Jane Public's orange shoelaces were put to rest this afternoon. Farewell to arms, rest in peace Agent Orange. and most importantly....bye.
The film "Letters Not About Love.
Film star narrator actress Lili Taylor.
Film is an avant-garde documentary about an international poetic exchange between Russian and American poets. Sound-design was composed and created by Joey Huertas by using street noise, international industrial machinary and car engines.
The groundhog on the mountain did not run
But fatly scuttled into the splayed fern
And faced me, back to a ledge of dirt, to rattle
Her sallow rodent teeth like castanets
Against my leaning down, would not exchange
For that wary clatter sound or gesture
Of love : claws braced, at bay, my currency not hers.
Such meetings never occur in marchen
Where love-met groundhogs love one in return,
Where straight talk is the rule, whether warm or hostile,
Which no gruff animal misinterprets.
From what grace am I fallen. Tongues are strange,
Signs say nothing. The falcon who spoke clear
To Canacee cries gibberish to coarsened ears.
