Josh Weinstein – “Cross Examination”

Cross Examination
Cross Examination (2005, 11.4MB, 5:40 min)

Made in 2005, this is a really extraordinary piece for lots of reasons:

(1) It’s so carefully made ( & must have taken no little work)
(2) The chutzpah quotient is almost 100%
(3) There is more here than meets the eye
(4) The use of music (in its second appearance very reminiscent
of the school of Rifle/Hartley but spot on nonetheless)
(5) The warmth, genuine warmth; the real insight into people

As you see here Josh Weinstein, Brooklyn based film maker
does a lot of work for corporate clients. Hmmm.
Really, all you can think is, on the basis of this, they get way,
way more & better than they could possibly deserve.

Frank Zappa on ‘Crossfire’

zappa
Frank Zappa on Crossfire (1986, 49MB, 21:17 min)

from – del.icio.us

Making Web MVideo by Michael Verdi

webmvideo
Making Web MVideo (2011, 51 MB, 5:55 min)

“There was a lot of talk this week about WebM video after Google announced
that they were going to drop H.264 support from Chrome. This is huge news
for video makers, especially since Firefox 4 (which supports WebM) is almost done.
I figured it was time to look into WebM encoding tools again.”..

from Michael Verdi.

Martha Deed – War and Peace

War and Peace
War and Peace (2006, 35.4MB, 2:34 min.)

Some delicate & tough poetry of the everyday &
the often overlooked (& thence of all we are & of
our place in the natural world too) from Martha Deed in 2006.

Robert Croma – La Descente

la descente
La Descente (2010, 96MB, 8:21 min)

It’s always great to have a new piece from Robert Croma
recently this has been an all too rare event.
Great to report that his first in a year is as good as it is.
I know that the people-going-down-steps/up-or-down-escalators/though-doors movies
have come to constitute almost a micro-genre, but this is an exceptionally
meticulous and rich example.
In particular what makes it for me is the decision (wherever – camera, edit – in the workflow
it happened) to leave in the faces who gaze boldly back at the camera.

A lot of Croma’s work employs subtly deployed but thorough post-production
to heighten and poeticize further his material. Here it’s rather his visual acuity
and the years of experience accumulated both in still and moving image which leads
to this simple but devastating handling of his original footage.
Similarly his use of sound is unobtrusive but exceedingly well judged.

I hope it’s not a year to the next one.

Nigel Ayers – War Criminal

first line
War Criminal (2003 -2010, 22MB, 3:18 min)

When I first saw this piece from Nigel Ayers I assumed, quite wrongly, he
was involved with some heavy duty image manipulation in the cause of a
kind of conceptualist ‘activism’ (and I sat scratching my head at just how difficult it
must have been to get that image onto so many moving figures).

DOH! The facts are much weirder and much, much better…
Great stuff! Hats off! Not worthy, not worthy!

Let Nigel explain…

molotov_alva

Sun Capture – Julianne Swartz

suncapture
Sun Capture (1999, 9.6 MB, 1:23 min.)

Transferring the reflection of a natural occurrence (the movement of the sun)
from outdoors to indoors, Brooklyn-based artist Julianne Swartz creates
her site-specific installation “Sun Capture” with existing architecture, metal pole,
mirror, sun, and wind.

Max Moswitzer – Early Videos

rambo1987
RAMBO (1987, 5.6 MB, 2:32 min)

killmydesire
ZERO ONE KILL MY DESIRE (1988, 7 MB, 3:12 min)

Early videos by Max Moswitzer using found footage material,
video collage, remix and animation.
More Max Moswitzer here.

A Letter From Beirut

From Beirut
A Letter From Beirut (2006, 36.9MB, 4:41 min.)

This video letter was made on July 21, 2006 at the studios of Beirut DC, a
film and cinema collective which runs the yearly Ayam Beirut Al Cinema’iya Film
Festival. This video letter was produced in collaboration with Samidoun, a grassroots
gathering of various organizations and individuals who were involved in relief
and media efforts from the first day of the Israeli attack on Lebanon. It was
also featured at the Biennial of Arab Cinema, organized by the Arab World
Institute
in Paris.