"how do dubbing and subtitling impact the transnational audience’s identification with or distancing from the actions and narratives on screen, during the reception process?”
Archiving, Culture and the Creative Act Panel
"Cinema ought to stop ‘being cinematic’, stop playacting, and set up specific relationships with video, with electronic and digital images, in order to develop a new form of resistance and combat the televisual function of surveillance and control. It’s not a question of short-circuiting television — how could that be possible? — but of preventing television subverting or short-circuiting the extension of cinema into the new types of image."
Sunday February 12, 2012
2pm @ Open Space, 2720 Sisson Street, Baltimore, MD 21211
”Neurocinematics: Where Neuroscience Meets Filmmaking" in Collaboration with Spiral Cinema
Uri Hasson is known for his study of the correlation between eye movements and brain activity. Recently his work with film has been motivated by the need to understand the ways in which audiences’ brian patterns function. He has found that certain films will produce nearly the exact same patterns in each of the audiences’ thoughts.
Using a machine known as the fMRI, Uri Hasson has his subjects lie in tubes and watch movies, while their eyes are tracked to see which part of the movie they’re watching. Then he determines people’s visual responses to a) random footage, b) artworks (video art), c) documentaries, d) commercial films, e) Hollywood blockbusters and f) propaganda to see how film makers totally control people’s visions.
Tonight! The last film in this series.
January 25th: Mystery Train (1989) dir. Jim Jarmusch @ The Windup Space
Poster designed by Chloe Maratta
Soundtrack Interpretation provided by The Sterling Sisters
This “boozy and beautiful pilgrimage to an iconic American ghost town” shot as three different films is joined together by the central setting of Memphis, Tennessee and the Arcade Hotel. Featuring a Japanese couple that take a tour of Sun Studios, an Italian widow that sees the ghost of Elvis, and Joe Strummer holding up a liquor store, this film is directly related to the bar culture in which it is screened.
Trudging through an empty street, one starts noticing things that might not have appeared during a time when a crowd of bodies flood the sidewalks. Unknown lamp posts, billboards, open fields, and dead animals appear where one’s eyes previously glide past these transitory landmarks. The Sterling Sister’s soundtrack inspired by Jim Jarmusch’s 1989 film Mystery Train appears as a devoted voyage through a town once plagued by memories of lost loves, shaken faiths, and awakened memories. This five song EP stands at the end of the series as being one of the more emotionally raw and allegorical of the various soundtracks presented.
TOMORROW NIGHT! Second film in the second installment of Spiral Cinema:
January 11th: Two-Lane Blacktop (1971 dir. Monte Hilman) @ Open Space Gallery
All screenings in Spiral Cinema are free and open to the public (all ages). 9pm sharp.
Poster designed by James Bouché and Andrew Walters
Soundtrack Interpretation by Gem Vision
(http:// spiralcinemapresents.bandca mp.com/track/two-lane-blacktop-mix)
Joining the likes of Easy Rider and Vanishing Point this film is known for its minimal dialogue and documentation of Route 66 culture in the early 70’s before the interstate hi-way systems conquered America. James Taylor and Dennis Wilson (also the drummer from The Beach Boys) star as two drag racers that make their living by challenging local residents to races. Along the way, they encounter a young girl hitchhiker and challenge another rich car driver to a race to Washington, DC.
It seems nearly too obvious at this point to take a road trip and listen to the likes of The Doors, Kris Kristofferson, Chuck Berry, and Arlo Guthrie. Yet there is something about those bands that blend in perfectly with the sunlight filtering in through the windshield and the “anything goes” attitude of their time. Revisiting this structure of the road trip soundtrack, Justin Kelly had this to say about his new mix, “Traveling to me is partly about repetition, since this film happens mostly on the road, I found it fitting to make a mix of original electronic music.” In creating new standards for road trip soundtracks, can things such as acoustic guitars and catchy chorus hooks be eliminated in lieu of subtly shifting waves of sound that filter through the windshields just as appropriately
Neil the young republican. Max is wearing dior.
Tonight! Aria (1987) at the Windup Space! 9pm
Musical interpretation by Chris Day’s project Vlonde for the 1987 film Aria. Screened at the Windup Space on January 4th through Spiral Cinema.
released 29 December 2011