Saturday, September 12, 2015
Proyector Videoart Festival
I'm excited that the Tropic Pictures film "Other Wounds" will play at Proyector International Videoart Festival in Madrid, Spain on September 20. The screening will take place outdoors at Cinema Usera. I'm grateful to Sabrina Durling-Jones de Miranda for the artful translation into Spanish and to the organizers for selecting this film. (More info on the 9/20 program in the link below.)
Link:
Cinema Usera
Sunday, August 23, 2015
A Quick Look at a Long Drive
I put 230 miles on my truck yesterday, out gathering footage for the forthcoming Tropic Pictures movie "One of the Rough" -- a poetic road movie. See some of the footage in this link.
Link: Quick Look: One of The Rough
Link: Quick Look: One of The Rough
Friday, August 21, 2015
Sex and Death in Mexico: The Films of Carlos Reygadas
My article about Mexican filmmaker
Carlos Reygadas has been published by Glasstire.
Reygadas' images are, by turns, beautiful, hallucinogenic, brutal, erotic, and subversively funny.
Find the full article here:
Sex and Death in Mexico
Sunday, July 26, 2015
An Errand of Hip and Chin
I'm proud to show a quick look at the forthcoming Tropic Pictures film "An Errand of Hip and Chin."
It's an art film. It's a Hula Hoop movie. It's . . . not easily categorized. But I bet you find it interesting!
Here is the link:
"Errand of Hip and Chin"
And here are a few film stills.
It's an art film. It's a Hula Hoop movie. It's . . . not easily categorized. But I bet you find it interesting!
Here is the link:
"Errand of Hip and Chin"
And here are a few film stills.
Friday, July 24, 2015
Technotopian Dreams
My article about Antione Catala's "Emobot (Teacher)" at The Dallas Museum of Art has been published by Glasstire.
Excerpt:
What Emobot (Teacher) teaches, I suspect, is a lesson about the inhibiting forces of social authority and the insolence of the individual. It is an intelligent and ambitious line of thinking. The emobot seems to describe the shortfall of the digital world to house or even understand our emotions, and Catala seems to be having fun with this shortfall.
Find the full article here: "Creepy Emotions"
Excerpt:
What Emobot (Teacher) teaches, I suspect, is a lesson about the inhibiting forces of social authority and the insolence of the individual. It is an intelligent and ambitious line of thinking. The emobot seems to describe the shortfall of the digital world to house or even understand our emotions, and Catala seems to be having fun with this shortfall.
Find the full article here: "Creepy Emotions"
Friday, July 17, 2015
The Poem within the Film, Pt. 5
Day five of the Five Day Poetry Challenge. Today, a poem you can watch! "The Border Between Human Heel and Serpent's Fang" appears in the Tropic Pictures film "A Well-proved Helpmate."
The link below carries you to the scene in the film where actor Mayo Purnell tells the audience a strange and haunting story, which is the narrative poem.
Link:
Clip from the film "A Well-proved Helpmate"
And here is he text:
And one time
I saw a bird pick a snake from the grass like a ribbon.
For lack of anything but an act of faith,
the snake struck the raptor and fell loose:
small in the distance—dark, twisting, alive —
falling through the blue . . . Then I lost it in the pines.
The link below carries you to the scene in the film where actor Mayo Purnell tells the audience a strange and haunting story, which is the narrative poem.
Link:
Clip from the film "A Well-proved Helpmate"
And here is he text:
BORDER BETWEEN HUMAN HEEL AND SERPENT'S FANG
Every little talk of philosophy
will go astray
with the appearance of a snake.
Even Bacchants
leave off ructions and capers
when slither takes the room.
Cannibalism in snakes
serves the mythic mind two images:
i.
The devouring cycle.
ii.
A careful hunter sighting prey
from an ingenious blind
has her concentration thunderstruck
by a visiting snake.
And a facile tap of her machete
puts its head spinning yonder—
a stone rolled away from a tomb
as out slips one devoured,
a reclaimed snake wriggling and taking over,
fangs beading in the sunlight.
And one time
I saw a bird pick a snake from the grass like a ribbon.
For lack of anything but an act of faith,
the snake struck the raptor and fell loose:
small in the distance—dark, twisting, alive —
falling through the blue . . . Then I lost it in the pines.
Thursday, July 16, 2015
The Poem within the Film, Pt. 4
Day four of the Five Day Poetry Challenge. This poem, "Resisting Rapture" will appear in the forthcoming Tropic Pictures film "Satan is Real."
A headstone rises modestly to firmament,
and I remember—or rather invent—
my grandfather as a youth
in striped jersey and football trousers
breaking through empty meadow,
purple tops of field grass exploding
at the points of his knees.
And the stone on the ground, I suppose,
speaks of past traditions, emulated virtues,
exhorts the living to remember their own end.
The space between the etched dates—
wide fissure in the brain—
I work a lazy calculation but never make the sum.
Blackbirds flick from a lone cedar,
my young haunt underneath,
to-ing and fro-ing, awaiting the ball
he'd punted to tumble through the boughs.
Birds scatter and re-form—jots of a professor
toward an elusive proof.
Is eternity one long, empty afternoon
sharing youth with my grandfather?
Maybe the symbol is not the stone
but the grass seed. Cataclysm without names
etched in—anonymous way back
into the parenthesis of the soil.
themselves now faraway burrs in the white summer sky.
Or its the sum-shaped absence left by the blackbirds,
RESISTING RAPTURE
A headstone rises modestly to firmament,
and I remember—or rather invent—
my grandfather as a youth
in striped jersey and football trousers
breaking through empty meadow,
purple tops of field grass exploding
at the points of his knees.
And the stone on the ground, I suppose,
speaks of past traditions, emulated virtues,
exhorts the living to remember their own end.
The space between the etched dates—
wide fissure in the brain—
I work a lazy calculation but never make the sum.
Blackbirds flick from a lone cedar,
my young haunt underneath,
to-ing and fro-ing, awaiting the ball
he'd punted to tumble through the boughs.
Birds scatter and re-form—jots of a professor
toward an elusive proof.
Is eternity one long, empty afternoon
sharing youth with my grandfather?
Maybe the symbol is not the stone
but the grass seed. Cataclysm without names
etched in—anonymous way back
into the parenthesis of the soil.
themselves now faraway burrs in the white summer sky.
Or its the sum-shaped absence left by the blackbirds,
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