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The Art of Harvey Kurtzman, a tribute to the MAD magazine founder.
Featuring interviews with Al Jaffee and Robert Grossman
Try guess which of these videos is from New Zealand and which is Australian
Birds runner-up: Returning from the hunt by Michael Lohmann
Can’t believe this guy came second.
Dozens of images made it through to the final round of the Nature Photographer of the Year 2013 competition, organized by the Society of German Nature Photographers (GDT). Here’s our gallery of some of the best.
Via: guardian
The Smithsonian’s Retina tumblr sure is giving Nat Geo’s Found a run for it’s money.
This photo reminded me of Werner Herzog’s depressed loner Penguin from Encounters at the End of the World
(via smithsonianmag)
I’m skeptical about this film, maybe it’s Hermione’s American accent or the rest of the b-grade-ish acting… or is that just how LA kids are?
I think maybe I just miss Sophia Coppola’s early work.
At least it features some more Harris Savides camerawork
In Memory of Harris Savides (1957-2012)
A great tribute from Press Play
“I don’t want to light their faces and bodies specifically. I like to light the space.” —Harris Savides
For my money Birth and Zodiac feature some of the best cinematography in the last decade.
PP: Birth is filled with “How the hell did they do that?” camera moves and astoundingly long takes, but his New York streetscapes and lush interiors aren’t TV-commercial glossy, or even fussed over; they seem like places where real people, not movie characters, might live and work. Coppola’s comfortably numb Somewhere has an early 70s stoner art-film vibe, but its locked-down wide shots, which let us simply watch characters behaving for minutes at a stretch, bespeak powers of concentration that Coppola’s earlier movies only hinted at. Van Sant’s hothouse triptych seems influenced by the work of hypnotically stripped-down European filmmakers who had become critical darlings in the U.S. around that time, Bela Tarr especially; but the casual-seeming quality of the light—radiant, even woozy, yet somehow not sentimentalized—is thoroughly American. Van Sant’s school-shooting psychodrama Elephant, in particular, merges documentary patience and movie-brat showiness in a way that felt strange and new; no wonder it divided critics.
In time, Fincher’s Zodiac might prove the most significant picture of the bunch. Shot digitally with the Viper cameraat a time when many directors and viewers were still suspicious of high-definition video, it was at once revolutionary and reassuring. No American movie had revealed the texture of night with such crystalline clarity. At the same time, though, the mid-’70s conspiracy thriller look that Fincher and Savides devised for Zodiac’s daytime and office scenes tied the movie to analog values, and sent an important subliminal message: tools change as technology evolves, but they’re still just a means to an end.
‘You know that loneliness will kill you deader than a 357 magnum?’
Super keen to see James William Guercio’s Electra Glide In Blue
Mubi: The film’s denouement is in fact facilitated by the self-destruction of several curiously close, if unsteady, male partnerships; it’s as though the squishy individualism of the 60s has crusted over into crude survivalism, leaving dyads no longer durable. The xeric landscape now belongs only to the man who can slip between and placate the communities at war within it while remaining true to himself—in other words, as the ending suggests, to no man at all.
—Joseph Jon Lanthier
‘Hashtag short lonely cops’
Here’s Austrian photographer Reiner Riedler’s new project, The Unseen Seen. It’s a series of macro shots of original filmrolls from the archive in The Deutsche Kinemathek, which is home to 13,000 national and international film titles.
The concept is to confront the viewer with the image of an object (filmrolls) and in doing so recall images from the spectator’s memory. By reading the movie title, I want to generate emotions and images from our memory.
Through the act of collecting and selecting the film rolls I noticed analogies between the colour and the shape of the rolls, and the content of the movies.
Besides the nostalgic connotation concerning the movie itself, there is the nostalgia concerned with the loss of a tradition. This projcet also deals with this loss - „the dying of film“.
A stunning spread of from an issue of LIFE titled Teenage Wasteland: Japanese Youth in Revolt, 1964 comes this photograph by Michael Rougier. Gee Japan in the sixties looks fun!
The original caption reads:
“Kako, languid from sleeping pills she takes, is lost in a world of her own in a jazz shop in Tokyo.”
Cheer up Kako.
David Solomons
I just had a really tough time choosing my favourite photo from Up West
Check it out
Hey Gang, get down to a secret warehouse location Total Control gig this Saturday
Thousands: Everyone loves surprises. Just like everyone loves warehouses and Collingwood, well, the suburb at least. Everyone does love warehouses don’t they? Anyway combine this with Total Control and Michael Ozone performing live and you have one mad party Collingwood warehouse party in a secret location. Book tickets online and receive information about the show on the day. In the meantime check some vids by TC, MO and secret locations that look like they were made by Michael Ozone.
Ignore the deets on this poster it’s just an old one that i liked.
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