Espinosa, JG. “For an Imperfect Cinema,” re art disappearing
Imperfect cinema is no longer interested in quality or technique. ..The filmmaker who subscribes to this new poetics should not […]
02. Theory
Selections from writing by filmmaker/theorists on political media.
Espinosa, JG. “For an Imperfect Cinema” re revolution
For us, then, the revolution is the highest expression of culture because it will abolish artistic culture as a fragmentary […]
Fanon, Franz. “On violence,” re decolinization
“Decolonization, we know, is a historical process: In other words, it can only be understood, it can only find its […]
Gibson, William. Cyberspace.
“Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts…” […]
Godard, J-L. “Kino-Praxis,” re art is a gun.
Art is a gun … There are different sorts of guns. There is a real gun and another sort of […]
Godard, J-L. “Kino-Praxis,” re cine-tracts
I thought the cine-tracts were a really good idea. They started out with things about the police, about the repression, […]
Greyson, J. “Strategic Compromises,” re expertise
Authority must be constituted by an “expert.” Television always speaks about AIDS from its mythical “outside” position of objectivity—even its […]
Greyson, J. “Strategic Compromises,” re intentionality
Intentionality is commonly a discredited concept on media criticism, yet for any video artist making social change media (and certainly […]
Greyson, John. “Strategic Compromises,” re history
The groundswell of independent videotapes addressing AIDS [are] within a rich history of social change media and the “committed documentary,” […]
Ivens, J. “The Camera and I,” re show what you want to say
“Many young documentary film makers start with the commentary on the right side and later fill in the visual part […]