Films, cinema

1. Piers , Bizony

The Making of Stanley Kubrick's '2001: A Space Odyssey'

Ein Blick hinter die Kulissen des Films, der ein ganzes Medium veränderte. Dieser spektakuläre Spezialband zu 2001: Odyssee im Weltraum stellt die Hauptdarsteller, Set-Designer, und Special-Effects-Experten vor, die angetrieben von den großen Vordenkern Stanley Kubrick und Arthur C. Clarke das Science Fiction-Genre und das Kino an sich revolutionierten. Diese umfassende Bildersammlung zeigt Fotos von den Werkstätten, den Dreharbeiten, Konzeptskizzen, Posterentwürfen, sowie weiterem PR-Material aus dem Kubrick-Archiv. Die brillanten Abbildungen beleuchten sowohl Kubricks penible Regiearbeit als auch die Magie und Faszination, die von diesem bewusstseinserweiternden, komplexen und zutiefst philosophischen Werk ausgehen. Der auf Raumfahrt, Special Effects und Technologie spezialisierte Journalist Piers Bizony arbeitete mehrere Jahre an diesem Überblickswerk, einer mit Herzblut geschriebene Hommage an ein Meisterwerk des 20. Jahrhunderts.

1. Lars Thorben , Henk

Wider den Antihumanismus

Welchen Stellenwert hat der Mensch in der Spätmoderne noch? Die Studie rekonstruiert den filmischen Humanismus im Migrationskino von Jean-Pierre und Luc Dardenne als Antwort auf den post- bzw. antihumanistischen Abgesang auf den Menschen.Im Spiegel des 'Humanismus des anderen Menschen' von Emmanuel Levinas verbindet die Arbeit einen philosophiegeschichtlichen Abriss des kontinentalen Antihumanismus im 20. Jahrhundert mit Analysen zentraler Filme der Brüder Dardenne. Dabei zeigt sich, dass sie eine Ästhet(h)ik des Humanen entwickeln, in der die radikale Verantwortungsethik in eine Moral der Form überführt wird. Dieser filmische Humanismus macht auch vor dem Publikum nicht halt: Es wird zur Geisel einer nicht gewählten Verantwortung.Die Studie eröffnet damit eine neue Perspektive auf das zeitgenössische frankophone Kino: Jean-Pierre und Luc Dardenne formulieren eine ästhet(h)ische Antwort auf die Dominanz des Antihumanismus in der Pariser Intellektuellenszene seit den 1950er Jahren-

K-NOW! Korean Video Art Today

K-NOW! Korean Video Art Today Published on the occasion of the eponymous exhibition at MASI Lugano, K-NOW! Korean Video Art Today invites readers to reflect on the role of video art as a tool for perception, memory, and the narration of the contemporary. Featuring essays by Francesca Benini and Je Yun Moon (curators of the exhibition), as well as Adeena May, the catalogue provides an overview of the history of video art in Korea, while also examining the video medium itself and the broader Korean art scene. Interviews with the participating artists—Ayoung Kim, Chan-kyong Park, Jane Jin Kaisen, Sungsil Ryu, Sojung Jun, Heecheon Kim, Onejoon Che, and 업체eobchae—offer further insight into the genesis and significance of the works presented in the exhibition.

1. James Bloom

Half Cheetah

" James Bloom’s Half Cheetah project uses real-time Reinforcement Learning AI models. Each piece presents 3D scans of humans running on a never-ending journey toward an unknown destination, while a second RL model analyses their motion and dynamically reorders it according to alternative goals, often producing loops of repetition or failure. What emerges is an abstract, perpetual flow of body movement: a functioning software that has no utility but nevertheless exists. The publication Half Cheetah, designed as a flip book, translates this infinite sequence into print and offers a deeper understanding of the project through a text by curator and critic Bronac Ferran and a conversation between the artist and Mark Leckey."

1. Colin , Winnette

Dazed and Confused

A minute-by-minute analysis of Richard Linklater's 1993 film, Dazed and Confused.Blending film criticism with creative nonfiction, each book in the Timecodes series focuses on one film, exploring it minute by minute beginning with minute one, and ending with the final minute before the closing credits.This book uses a close study of Dazed and Confused to tell three interrelated stories of adolescent development: the filmmaker's, the film's characters, and the author's own. The film's unconventional approach to character and plot mirrors the author's own structureless and energetic childhood, while also having a profound impact on his artistic development, as the film revealed that bending traditional narrative rules could make a story feel more honest and precise. The film also marked a kind of artistic coming-of-age for Linklater himself, as he transitioned from his self-financed indie infancy into his first studio film.The structure of Dazed and Confused mirrors the roving momentum of a youthful night, moving fluidly between characters, incidents, conversations, and what can only loosely be called "set pieces", while never feeling aimless. Each moment moves the night forward, revealing more of our characters as we slowly form a sense of what the rest of their summer might look like, and how the rest of their lives might go (though we're also reminded there'll be surprises along the way). As these moments accumulate, viewers are invited to reflect on their own lives, their own friends, their own easy nights of highs and lows, boredom and elation, danger and congress. Adopting the formal conceit of the Timecodes' series, this book accepts the film's invitation to live moment by moment, taking each discrete minute as an opportunity to reorient and explore new vantages on both the movie and the author's own life.

1. Tommaso , Mozzati

Vite immaginarie di Caravaggio. Un pittore tra le ombre del cinema. Con l'inedito Caravaggio di Suso Cecchi D'Amico ed Enrico Medioli

La pittura e la vita di Caravaggio sono legate a filo doppio alla storia del cinema del Novecento - italiano ed europeo - a partire dagli anni Quaranta, in un dialogo inevitabile fra il luminismo tenebroso delle sue tele, un'esistenza drammatica e l'arte del film. Stimolati dal dibattito avviato da Roberto Longhi, i progetti cinematografici coinvolgono registi e star celebri, da Goffredo Alessandrini a Derek Jarman, da Amedeo Nazzari a Gian Maria Volonté. Il volume ripercorre gli episodi salienti e in parte inediti di questa vicenda, presentando per la prima volta un trattamento cinematografico firmato da Suso Cecchi D'Amico ed Enrico Medioli (coppia vincente di Rocco e i suoi fratelli e del Gattopardo), che nell'immediato dopoguerra - con un occhio alla mostra del 1951 dedicata a Caravaggio in Palazzo Reale a Milano - immaginarono di riaffidare al buio della sala la parabola dell'artista nel quadro della nuova stagione del neorealismo.