tag:blogger.com,1999:blog-58784261180576913132024-03-13T10:59:31.354-04:00When The Trees Were Still RealOfficial blog of photographer/painter/filmmaker Jesse Richards. Now the home of Remodernist FilmJesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.comBlogger41125truetag:blogger.com,1999:blog-5878426118057691313.post-4919318945047280492015-02-11T17:07:00.000-05:002015-02-11T17:10:47.283-05:00On Tumblr and elsewhere now. No more updates on this blog.I'll be leaving this up, mostly because it has the original posting and comment responses to the Remodernist Film manifesto.
To follow more current things, find me here:
<a href="http://jesserichardsfilm.tumblr.com/">Jesse on Tumblr</a>
<a href="https://www.flickr.com/photos/remodernist/">Me on Flickr</a>
<a href="https://www.facebook.com/pages/Jesse-Richards/128955260481">and Facebook</a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-24738185132077881702012-06-24T13:04:00.001-04:002012-06-24T13:04:01.585-04:00Bright Lights Film Journal :: In Passing (2011) and the Remodernist Film Manifesto<a href="http://www.brightlightsfilm.com/76/76passing_riley.php#.T-dIdUEpIr8.blogger">Bright Lights Film Journal :: In Passing (2011) and the Remodernist Film Manifesto</a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-78872069421991920062012-02-03T16:34:00.003-05:002012-02-03T16:40:18.616-05:00Manifesto du Cinema Remodernist (French translation)Manifesto du Cinema Remodernist<br /><br />translated by Abde Aftati, proofread by Mikel Guillen<br /><br />1. Les manifestes d’Art, malgré les bonnes intentions de leurs auteurs doivent toujours être « avec un grain de sel » car comme le dit le cliché ils sont sujet à l’ego, la prétention et plein de vieilles ignorances et stupidité de l’auteur. Cela nous renvoi du manifeste de Die Brücke en 1906 et se poursuit dans le temps jusqu’à celui que vous êtes en train de lire actuellement. Cependant, les idées avancées ici, le-sont avec sincérité et l'espoir d'apporter l'inspiration et le change à d'autres, aussi bien qu'à moi.<br /><br />2. Le Remodernisme recherche une nouvelle spiritualité dans l’art. C’est pourquoi, le film remoderniste recherche une nouvelle spiritualité dans le cinéma. Par spiritualité il ne s’agira pas de Jésus ou Bouddha. C’est le cinéma qui traite de l’humanité et de la compréhension des vérités simples et des moments d’humanité. Le film spirituel est TOUT sur ces moments.<br /><br />3. Le cinéma pourrait être une des méthodes parfaites d'expression créative, en raison de la capacité du cinéaste pour sculpter l'image, le son et le sentiment de temps. Le plus souvent les possibilités créatives de cinéma gâchées. Le cinéma n'est pas une peinture, un roman, une pièce de théâtre en encore la photographie. Les règles et les méthodes utilisées au cinéma ne devraient pas être liées à ces autres activités créatives. Le cinéma NE DEVRAIT PAS être pensé comme étant "tout du récit d'une histoire". L'histoire est une convention d'écriture et ne devrait pas nécessairement être considéré comme un contrat de tournage.<br /><br />4. Les idées japonaises de wabi-sabi (la beauté de l'imperfection) et mono no aware (la conscience de la transition des choses et les sentiments aigres-doux qui accompagnent leur passage), ont la capacité de montrer la vérité de l’existence et devraient toujours être considéré en faisant le film remoderniste.<br /><br />5. Un pseudo-sens de la « perfection » ne devrait jamais s’imposer dans un film remoderniste. Les défauts devraient être acceptés voir encourager. A cette fin, un réalisateur remoderniste privilégiera l’usage du film, en particulier le Super-8mm ou 16mm en raison des risques liés à ces medium et du besoin de laisser une place au hasard, par opposition à la vidéo numérique. La vidéo numérique s’adresse à ceux qui sont effrayés ou peu disposé aux défauts. ** La vidéo conduit à un cinéma ennuyant et stérile. Les erreurs et les défauts rendent votre travail honnête et humain.***<br /><br />6. Le film, en particulier le Super-8mm a la primitivité et la capacité à capter l’essence poétique de la vie, ce que la vidéo n’a encore jamais été capable de réussir. <br /><br />7. L’intuition est un outil puissant pour une communication honnête. Votre intuition vous dira toujours si vous faite quelque chose d’honnête donc l’utilisation de l’intuition est la clé de toutes les étapes de la réalisation remoderniste. <br /><br />8. Tout produit ou résultat de créativité humaine est en soi subjectifs, en raison des croyances, des influences et des connaissances de la personne qui crée. Les travaux qui essayent d'être objectif seront toujours subjectifs, mais ils seront subjectifs d'une façon malhonnête. Des films objectifs sont en soi malhonnêtes. Stanley Kubrick, qui désespérément et pathétiquement essayé de faire des films objectifs, aura au lieu de cela fait des films ennuyeux et malhonnêtes.<br /><br />9. Le film remoderniste est toujours subjectif et n’aspire jamais à être objectif.<br /><br />10. Remoderniste Film n’est pas Dogme ’95. Nous n’avons de prétentieuse checklist qui faut suivre. Ce manifeste devrait être vu comme une collection d’idées et de conseils que l'auteur peut railler et insulté à volonté.<br /><br />11. Le réalisateur remoderniste doit toujours avoir le courage de tomber, peut-être même espérer tomber, et trouver l’honnêteté, la beauté et l’humanité dans les défauts.<br /><br />12. Le réalisateur remoderniste ne devrait jamais espérer être remercié ou félicité. Au lieu de cela les insultes et les critiques devraient être les bienvenues. Vous devez être enclins à être ignoré et oublié. <br /><br />13. Le cinéaste remoderniste devrait accepter leurs influences et devrait avoir le courage pour copier d'elles dans leur quête de soi.<br /><br />14. Le film remoderniste devrait être démonté, minimal, lyrique, une sorte de punk de la réalisation et est assez proche du No-Wave Cinéma arrivé du Lower East Side à New York dans les années 1970.<br /><br />15. Le film Remoderniste est pour les jeunes et les plus âgées mais qui ont gardé le courage de regarder au travers de leurs yeux d’enfant.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-80509503922365877362011-10-27T09:10:00.001-04:002011-10-27T09:10:48.711-04:00"In Passing" and Remodernist Film Featured in Filmink Magazine<div class='posterous_autopost'><p><span class="commentBody">“The film is neither a fully experimental work, nor a movie fixated on classic narrative; rather, 'In Passing' explores the passing of time and the relation of time to cinematic space. Often focusing on intimate yet small details – the tabl<span class="text_exposed_show">e top exploration of a crustacean, the patter of rain on a window, cats at play, the ocean shot from a moving car, a couple looking into a camera knowing that ...the film they are making will fail – and finding something lyrically poignant and even personal within these transient moments. There are scenes in which people seem to vanish, no longer seen on screen, yet the space they once occupied still resonates with their echoes, moving through the poetic sublime."</span></span></p> <p><span class="commentBody"><span class="text_exposed_show">-Jack Sargeant, "The New Personal Cinema: From Lyrical Film to Remodernism"- Filmink Magazine<div class='p_embed p_file_embed'> <a href="http://jesserichards.posterous.com/in-passing-and-remodernist-film-featured-in-f"><img alt="" src="http://posterous.com/images/filetypes/pdf.png" /></a> <div class='p_embed_description'> <strong>70028725-FilmInk-Page-1.pdf</strong> <a href="http://getfile3.posterous.com/getfile/files.posterous.com/temp-2011-10-27/qbousfmqHHiduzAJlEEsekHAfBiafebHGtAFEbiydJAjFohFEdzJDvktndwu/70028725-FilmInk-Page-1.pdf">Download this file</a> </div> </div> <div class='p_embed p_file_embed'> <a href="http://jesserichards.posterous.com/in-passing-and-remodernist-film-featured-in-f"><img alt="" src="http://posterous.com/images/filetypes/pdf.png" /></a> <div class='p_embed_description'> <strong>70028378-FilmInk-Page-2.pdf</strong> <a href="http://getfile8.posterous.com/getfile/files.posterous.com/temp-2011-10-27/jpDzExxGGpcrqIfcsfeavCmCDfbfwihagrFjEzcAJFtEDnzaBwsphgACCEiy/70028378-FilmInk-Page-2.pdf">Download this file</a> </div> </div> <div class='p_embed p_file_embed'> <a href="http://jesserichards.posterous.com/in-passing-and-remodernist-film-featured-in-f"><img alt="" src="http://posterous.com/images/filetypes/pdf.png" /></a> <div class='p_embed_description'> <strong>70028339-FilmInk-Page-3.pdf</strong> <a href="http://getfile2.posterous.com/getfile/files.posterous.com/temp-2011-10-27/uBcbetHugxgkjaDJBFJEifvrGyxtcmIEsDeeAqewzxvznAvhEepIFwcCeqbb/70028339-FilmInk-Page-3.pdf">Download this file</a> </div> </div> <div class='p_embed p_file_embed'> <a href="http://jesserichards.posterous.com/in-passing-and-remodernist-film-featured-in-f"><img alt="" src="http://posterous.com/images/filetypes/pdf.png" /></a> <div class='p_embed_description'> <strong>70028112-FilmInk-Page-4.pdf</strong> <a href="http://getfile9.posterous.com/getfile/files.posterous.com/temp-2011-10-27/JduCtpqfzepJwCkEgwGfjfthEofetwHIwjBGeByuicvjopFBAtFleGrGoFsi/70028112-FilmInk-Page-4.pdf">Download this file</a> </div> </div> <br /></span></span></p></div>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-32598730075316841192011-09-19T19:26:00.003-04:002011-09-19T19:50:39.078-04:00El manifiesto de cine remodernista por Jesse RichardsEl manifiesto de cine remodernista por Jesse Richards<br /><br /><ol><li>Los manifiestos de arte, a pesar de las buenas intenciones del escritor, siempre deben “ser tomadas con un grano de sal” como dice el cliché; porque estas están sujetas al ego, las pretensiones y la ignorancia a secas y estupidez de sus autores. Esto viene siendo así desde el manifiesto Die Brücke de 1906, y continúa a través del tiempo hasta este manifiesto que lees ahora. Una sana desconfianza hacia los manifiestos es entendida y animada. Sin embargo, las ideas presentadas aquí pretenden ser sinceras, con la esperanza de impulsar la inspiración y cambio en los otros, así como a mí mismo.</li><li>El remodernismo busca una nueva espiritualidad en el arte. Por lo tanto, el cine remodernista busca una nueva espiritualidad en el cine. El cine espiritual no significa películas sobre Jesús o el Buda. El cine espiritual no es sobre religión. Es un cine preocupado por la humanidad y el entendimiento de las verdades simples y momentos de la humanidad. El cine espiritual es TOTALMENTE sobre estos momentos.</li><li>El cine podría ser uno de los perfectos métodos de la expresión creativa, debido a la habilidad del cineasta de esculpir con imagen, sonido y con la sensación del tiempo. En su mayoría, las posibilidades creativas del cine han sido desperdiciadas. El cine no es una pintura, una novela, una obra de teatro, ni una fotografía fija. Las reglas y métodos usados para crear el cine no deberían estar atadas a estos otros esfuerzos creativos. El cine NO debería pensarse como “todo sobre relatar un argumento”. El argumento es una convención de la escritura, y no, necesariamente, debería ser considerada una convención del cine.</li><li>Las ideas japonesas del <em>wabi-sabi </em>(la belleza de la imperfección) y <em>mono no aware</em> (la conciencia en la transitoriedad de las cosas y los sentimientos agridulces que acompañan su paso), tienen la habilidad de mostrar la verdad de la existencia, y siempre deberían estar consideradas al realizar el cine remodernista.</li><li>Un sentido artificial de la “perfección” nunca debería ser impuesto en un cine remodernista. Los defectos deberían ser aceptados, e incluso incentivados. Con ese fin, un cineasta remodernista debe considerar el uso de cinta de película, y en particular cintas como Super-8 y 16mm, porque estos medios implican un mayor riesgo y un requerimiento de dejar las cosas al azar, en oposición al video digital. El video digital es para personas que tienen temor de, y son reacios a cometer errores—. El video conduce a un cine aburrido y estéril. Los errores y fracasos hacen tu obra honesta y humana.</li><li>La cinta de película, particularmente la Super-8, tiene una tosquedad, y una habilidad de capturar la esencia poética de la vida, que el video nunca ha sido capaz de lograr.</li><li>La intuición es una herramienta poderosa para la comunicación honesta. Tu intuición siempre podrá decirte si estás haciendo algo honesto, así que la utilización de la intuición es la clave para todas las fases del cine remodernista.</li><li>Cualquier producto o resultado de la creatividad humana es inherentemente subjetivo, debido a las creencias, los prejuicios y los conocimientos de la persona realizando la obra. La obra que intente ser objetiva siempre será subjetiva, sólo que será subjetiva de una forma deshonesta. Las películas objetivas son inherentemente deshonestas. Stanley Kubrick, quien patética y desesperadamente intentó realizar películas objetivas, en lugar de eso, realizó películas deshonestas y aburridas.</li><li>El cine remodernista es siempre subjetivo y no aspira a ser objetivo.</li><li>El cine remodernista no es Dogma 95. No tenemos una lista pretensiosa que debe seguirse con precisión. Este manifiesto debe ser visto únicamente como una recopilación de ideas y consejos de cuyo autor los demás se podrían burlar o aún insultarle a voluntad. </li><li>El cineasta remodernista siempre debe tener el coraje de fracasar, incluso esperar fracasar, y encontrar la honestidad, la belleza y la humanidad en el fracaso.</li><li>El cineasta remodernista nunca debe esperar ser agradecido o felicitado. En su lugar, los insultos y críticas deben ser bienvenidas. Tú debes estar dispuesto a ser ignorado y pasado por alto.</li><li>El cineasta remodernista debería aceptar sus influencias y debería tener la valentía de copiar de ellas en su búsqueda de la comprensión de sí mismos.</li><li>El cine remodernista debe ser un tipo de cine minimalista, simplificado, lírico y punk; y es un pariente cercano al <em>No-Wave Cinema</em> que salió del Lower East Side de Nueva York en los setentas.</li><li>El cine Remodernista es para los jóvenes, y para aquellos que son mayores pero siguen teniendo el coraje de mirar al mundo con ojos como si ellos fuesen niños.</li></ol><p> </p> <p>— Las únicas excepciones al Punto 5, sobre video, son Harris Smith y Peter Rinaldi; a mi parecer, ellos son las únicas personas que han realizado un uso honesto y significativo de este medio.</p> <p> </p> <p>Este manifiesto puede serle adjuntado/añadido en el futuro, mientras ideas adicionales se desarrollen.</p> <p> </p> <p>Los siguientes son para el estudio adicional de aquellos interesados en lo que ha influenciado la filosofía del cine remodernista.</p> <p> </p> <p><strong>Cineastas remodernistas honorarios</strong></p> <p><strong> </strong></p> <p>Amos Poe, y todos los cineastas de la <em>No-Wave Cinema</em></p> <p>Andrei Tarkovsky</p> <p>Jean Vigo</p> <p>Kenji Mizoguchi</p> <p>Maurice Pialat</p> <p>Yasujiro Ozu</p> <p>Wolf Howard</p> <p>Billy Childish</p> <p> </p> <p><strong>Otros artistas/grupos de arte/ideas influyentes</strong></p> <p><strong> </strong></p> <p>Die Brücke</p> <p>Les Fauves</p> <p>Stuckism</p> <p>The Defastenists</p> <p>Vincent Van Gogh</p> <p>Edvard Munch</p> <p><em>Mono no aware</em></p> <p><em>Wabi-sabi</em></p> <p> </p> <p><strong>Algunas películas que influenciaron y condujeron al cine remodernista</strong></p> <p><strong> </strong></p> <p>“The Foreigner”- Amos Poe</p> <p>“Zerkalo”- Andrei Tarkovsky</p> <p>“Andrei Rublev”- Andrei Tarkovsky</p> <p>“Zéro de conduite”- Jean Vigo</p> <p>“L’Atalante”- Jean Vigo</p> <p>“Ugetsu Monogatari”- Kenji Mizoguchi</p> <p>“A Nos Amours”- Maurice Pialat</p> <p>“Tokyo Story”- Yasujiro Ozu</p> <p> </p> <p>Translated from the English language to Latin-American Spanish by Agustín Lorenzo.</p> <p>(aguslord@msn.com)</p><span class="default_message"></span>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-67483408017972143782011-09-01T10:36:00.001-04:002011-09-01T10:36:34.975-04:00Seeking actors and non-actors for new filmsContact me with info about yourself via my blogger profile if you are in the western MA area and want to participate in some improvised new films.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-50215520340462647872011-08-05T14:26:00.001-04:002011-08-05T14:28:10.740-04:00New Trailer for Remodernist omnibus film "In Passing"<iframe src="http://player.vimeo.com/video/27344182?title=0&byline=0&portrait=0" frameborder="0" height="224" width="398"></iframe><br /><br />Thanks to Christopher Michael Beer for the excellent work!Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-10858017815396901332011-07-24T16:10:00.004-04:002011-07-24T16:16:49.649-04:00Bill Mousoulis, founder, SENSES OF CINEMA, on the Remodernist film "IN PASSING""IN PASSING is an admirable work. At times it feels like experimental cinema, or an art installation, or minimalist narrative work, or cryptic documentary work, but it is none of these things, in a way it is beyond them. As an omnibus film, the seven pieces are unified - their exploration of the passing of time, the passage of space, and, more importantly, the "passing" (the imagining, the expression, the extinguishing) of cinema. The filmmakers are working under a "remodernist" designation, complete with a set of 15 "rules". So it's an attempt to renew cinema, to find new forms - as many of the modernist filmmakers of the '60s wanted to do. (And did.) In an age where digital technology has given rise to a proliferation of filmmakers with nothing but commercial dreams in their heads for their moribund creations, this remodernist group of filmmakers is dreaming and believing in something else. And actually doing it. IN PASSING is an intriguing and exquisite work, filled with many delightful elements."<p>- Bill Mousoulis, Founding editor, Senses of Cinema journal.</p><p><a href="http://2.bp.blogspot.com/-gkN5rA4Eb8c/Tix9YxjcgMI/AAAAAAAAAQc/OoL3l8Siqm4/s1600/remodernist%2Bfilm%2Bposter%2Bcopy.jpg"><img style="cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="http://2.bp.blogspot.com/-gkN5rA4Eb8c/Tix9YxjcgMI/AAAAAAAAAQc/OoL3l8Siqm4/s400/remodernist%2Bfilm%2Bposter%2Bcopy.jpg" alt="" id="BLOGGER_PHOTO_ID_5633015098505986242" border="0" /></a></p>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-10898389472944598022011-06-26T12:03:00.003-04:002011-06-26T12:06:26.858-04:00Award winning new short from Jesse Richards<iframe src="http://www.youtube.com/embed/67wQggAo1Ro" allowfullscreen="" frameborder="0" height="349" width="560"></iframe>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-31896812417764140702011-06-13T20:27:00.002-04:002011-06-13T20:31:26.939-04:00Trailer for the new Remodernist feature film project "In Passing"<iframe src="http://player.vimeo.com/video/25048986?title=0&byline=0&portrait=0" frameborder="0" height="225" width="400"></iframe><p><a href="http://vimeo.com/25048986">"In Passing" Trailer 1</a> from <a href="http://vimeo.com/cinefoundation">Cine Foundation International</a> on <a href="http://vimeo.com">Vimeo</a>.</p><br /><br />Post on Cine Foundation International:<br /><br />http://cinefoundation.org/2011/06/in-passing-cfi-presents-the-trailer-for-the-first-remodernist-collaborative-feature-film/Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-89102474175721853752011-03-14T18:04:00.003-04:002011-04-07T17:47:10.202-04:00First two Remodernist feature films...So as I noted in an earlier post, the production notes for <span><span>Béla Tarr's new film <span style="font-style: italic;">The Turin Horse</span>, describe the film as "remodernist cinema", so that film could be considered on of the first features that specifically are described in that way. See the trailer here:<br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/tWYoqi4Kpw4" frameborder="0" height="390" width="640"></iframe><br /><br />Also, Rouzbeh Rashidi has completed a brilliant new feature <span style="font-style: italic;">Closure of Catharsis</span>, that begins with text noting that it was inspired by the Remodernist film manifesto.<br /><br />See the trailer here:<br /><br /><iframe src="http://player.vimeo.com/video/19055833?title=0&byline=0&portrait=0" frameborder="0" height="225" width="400"></iframe><p><a href="http://vimeo.com/19055833">Closure of Catharsis (Trailer - A Feature Film By Rouzbeh Rashidi - 2011)</a> from <a href="http://vimeo.com/rouzbehrashidi">Rouzbeh Rashidi</a> on <a href="http://vimeo.com">Vimeo</a>.</p><br /><br /><br /><br /></span></span>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-89771436268164182702011-02-17T06:39:00.003-05:002011-02-18T07:28:14.140-05:00"Remodernist cinema" in the production notes for The Turin Horse"Production notes published to accompany the film's premiere in Berlin said it was consistent<br />with Tarr's 'remodernist cinema that seeks to capture the rhythm of life in real time and to raise<br />a sharp awareness of the moment' ".<br /><br /><a href="http://www.reuters.com/article/2011/02/16/us-berlin-hungary-idUSTRE71F3DM20110216">Reuters article</a><br /><br /><a href="http://3.bp.blogspot.com/-3wwig9r9Bm4/TV5lrOJS0OI/AAAAAAAAAPo/HcV4iBdG5bM/s1600/tarr.png"><img style="cursor: pointer; width: 309px; height: 400px;" src="http://3.bp.blogspot.com/-3wwig9r9Bm4/TV5lrOJS0OI/AAAAAAAAAPo/HcV4iBdG5bM/s400/tarr.png" alt="" id="BLOGGER_PHOTO_ID_5575005181937111266" border="0" /></a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-3739822554657978192010-11-03T12:31:00.000-04:002010-11-03T12:32:45.133-04:00Remodernist Film Podcast 1 now on archive.orgHere's the link:<br /><br /><a href="http://www.archive.org/details/RemodernistFilmPodcast1">http://www.archive.org/details/RemodernistFilmPodcast1</a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-31447641949411616802010-10-28T10:41:00.004-04:002010-10-28T10:53:51.081-04:00New article about Remodernist film by John Riley, and some NY screenings...Hey all!<br /><br />Sorry for the long break from posting Remodernist film news- this has been a very busy time!<br /><br />So two things to share here- a new article about Remodernist film by John Riley here:<br /><br /><a href="http://www.apengine.org/2010/10/remodernist-film-by-john-a-riley/">http://www.apengine.org/2010/10/remodernist-film-by-john-a-riley/</a><br /><br />and here's a tiny clip of my film "so tell me again" being played at the Big Screen Project, 29th Street, NYC.<br /><br />Subvex will be involved with programming there starting on Oct. 30th.<br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzPPJ09Z9cs6xPp4OuQHTTTG9LI8waaiJrkrkKvGI_zXn4mqRgOiESPOKpvjFf6BRUOLnbWTlHHDMa68MdiLg' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-2718477415231028752010-09-02T13:17:00.003-04:002010-09-02T13:24:04.488-04:00Remodernist Film Manifesto Translated to Persian and Published in Iranian Newspaper<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_ojRphtDEmk0/TH_ceFzvAHI/AAAAAAAAAPQ/Mpsr7sGKXmI/s1600/Interview.jpg"><img style="cursor: pointer; width: 292px; height: 400px;" src="http://1.bp.blogspot.com/_ojRphtDEmk0/TH_ceFzvAHI/AAAAAAAAAPQ/Mpsr7sGKXmI/s400/Interview.jpg" alt="" id="BLOGGER_PHOTO_ID_5512366878438129778" border="0" /></a><br />It's the column on the right. Rouzbeh Rashidi interview on the left.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-65611057772731044352010-08-17T19:07:00.002-04:002010-08-17T19:11:33.752-04:00New article about Remodernist Film in Iran- Shargh News Paper, Published 17 August 2010. By Kamyar Kordestani.The one all the way on the left.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_ojRphtDEmk0/TGsW96jvYdI/AAAAAAAAAPA/XbVcg5oOrwc/s1600/Kamyar-Kordestani.jpg"><img style="cursor: pointer; width: 309px; height: 400px;" src="http://4.bp.blogspot.com/_ojRphtDEmk0/TGsW96jvYdI/AAAAAAAAAPA/XbVcg5oOrwc/s400/Kamyar-Kordestani.jpg" alt="" id="BLOGGER_PHOTO_ID_5506520222337556946" border="0" /></a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-77976365769955836722010-08-07T15:06:00.007-04:002010-08-07T15:20:14.561-04:00New InterviewHere's a new interview with me which was conducted by Reyzl Perchonok, a student from Bezalel Academy in Jerusalem. This was originally published on the Subvex website.
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<br /> <meta name="Title" content=""> <meta name="Keywords" content=""> <meta equiv="Content-Type" content="text/html; charset=utf-8"> <meta name="ProgId" content="Word.Document"> <meta name="Generator" content="Microsoft Word 2008"> <meta name="Originator" content="Microsoft Word 2008"> <link rel="File-List" href="file://localhost/Users/jesserichards/Library/Caches/TemporaryItems/msoclip/0clip_filelist.xml"> <!--[if gte mso 9]><xml> <o:documentproperties> <o:template>Normal.dotm</o:Template> <o:revision>0</o:Revision> <o:totaltime>0</o:TotalTime> <o:pages>1</o:Pages> <o:words>1877</o:Words> <o:characters>10701</o:Characters> <o:company>University of Massachusetts</o:Company> <o:lines>89</o:Lines> <o:paragraphs>21</o:Paragraphs> <o:characterswithspaces>13141</o:CharactersWithSpaces> <o:version>12.0</o:Version> </o:DocumentProperties> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:drawinggridhorizontalspacing>18 pt</w:DrawingGridHorizontalSpacing> <w:drawinggridverticalspacing>18 pt</w:DrawingGridVerticalSpacing> <w:displayhorizontaldrawinggridevery>0</w:DisplayHorizontalDrawingGridEvery> <w:displayverticaldrawinggridevery>0</w:DisplayVerticalDrawingGridEvery> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:dontgrowautofit/> <w:dontautofitconstrainedtables/> <w:dontvertalignintxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="276"> </w:LatentStyles> </xml><![endif]--> <style> <!-- /* Font Definitions */ @font-face {font-family:Arial; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; text-align:right; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-bidi-font-family:"Times New Roman";} @page Section1 {size:8.5in 11.0in; margin:45.35pt 1.25in 45.35pt 1.25in; mso-header-margin:35.3pt; mso-footer-margin:35.3pt; mso-paper-source:0; mso-gutter-direction:rtl;} div.Section1 {page:Section1;} --> </style> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal"><u><span style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span style="font-family:Arial;"><o:p><span style="text-decoration: none;"> </span></o:p></span></u></p> <p class="MsoNormal"><u><span style="font-family:Arial;">Questions for Jesse Richards.</span></u><u><span style="font-family:Arial;"><o:p></o:p></span></u><i><span style="font-family:Arial;">
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<br /></span></i></p><p class="MsoNormal"><i><span style="font-family:Arial;">Ideology</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. How did you decided to become an artist (if there was such decision), was the decision more ideological or personal?</span><span style="font-family:Arial;"> </span><span style="font-family:Arial;">Are you guided by ideology in your contemporary work? </span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Well I suppose this all probably came about from needing to find another way to communicate. I’ve always been incredibly shy. Filmmaking became the first consistent medium for me (other than writing gory horror/monster stories as a little kid- I was obsessed with vampires and Frankenstein). I began making films as a teenager. I’m not sure I see much of a difference between ideological decisions and personal decisions; because ideology basically comes out of what seems to be personally right, what your intuition tells you is truth.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you believe that art or relations in art can be a tool for achieving social change?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Of course it’s possible, but I don’t think it’s happened in a long time. I think right now people everywhere are crying out for this, and essentially this is what Remodernism in all of its forms has been born out of- a growing need for deeper communication. Communication has never been more surface, more superficial than it’s been lately. Herzog’s “Rogue Film School” and “Minnesota Declaration”, the Subvex collective, film genres described as “cinema anima”, “contemplative cinema”, Stuckism, Defastenism- all of these things are part of Remodernism, and a part of this growing need for social change through deeper communication.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Is your work supported by governmental institutions? If not, would you like it to be? If yes, does it affect the content of your work?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. My own personal work as a filmmaker isn’t financially supported by anybody at the moment, although the new collective Subvex that I’m participating in is looking into new ways of raising funds for people making personal films.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Government money would be nice, as long as they didn’t try to dictate content- that of course would be unacceptable. However- the German New Cinema and Tarkovsky’s work were funded in this way, and that work is very, very good for the most part. I don’t think we can really count on capitalistic ideas to work when it comes to making honest work. Capitalism as we see has started to become a complete failure. Also the majority of cinema and art today is dictated by marketing- and look at all the garbage it’s created. People aren’t stupid mind you, but most people aren’t good at putting money into things that make us better and healthier- we waste money on junk food and on movies that we’ve forgotten a half-hour after finishing them. We can be pretty lazy when we’re not careful.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Even as low/no-budget as I (and other Remodernist filmmakers) may work, it still costs something to do this. Now that my physical disability (spina bifida) has prevented me from being able to work traditional jobs and to support my own work in that way (as I did until recently), I need to find other options for funding… Many others are in similar positions. It’s a difficult time.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you identify yourself with your country/city/government?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I don’t think about that kind of thing much lately. I think of things more as I’m part of this world and I want it to be a good one. I want people to stop being emotionally and spiritually lazy- and that goes for me as well. People fighting over all of these stupid things, meaningless thing like religion, it’s sick. So I see problems in the US, and I see them elsewhere too- I also see people trying to do good things everywhere as well. So I think we need to look beyond our own governments and religions and so forth.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you deal with politics on professional or personal level?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. In the US as with everywhere else politics is completely based on lies. I’m more interested in specific social/cosmic issues rather than “political issues” because the political issue is usually some form of misrepresentation or dumbed-down version of a social or cosmic issue.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">
<br /></span></i></p><p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">Environment</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;"><o:p> </o:p></span></i></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Could you tell about your artistic environment? Do you work in a collective, if yes, how significant this collective to your work (or life)?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Yes, I’m involved in two groups. One is a very loose association of a few Remodernist filmmakers that I organized and we’re working on a compilation feature film. Some are in very close communication with me, some are not. I didn’t feel like setting up a bunch of rules with it, so I’m seeing what develops out of it. I was recently invited to participate in and be one of the core members in a new collective of filmmakers called Subvex, which was just started by Tobias Morgan in Paris. Subvex is essentially focused on bringing deeper communication back into cinema- and sharing new ideas and theories- so again it’s essentially Remodernism. Collectives I think can be very positive experiences as long as it’s the right group of people and everyone stays real and is willing to grow individually and with each other.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you define your work as local? </span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I did when I lived in New Haven, at least on some level. Now I live in Massachusetts in a semi-rural small town where I know very few people, so my relationships are not really “local”, so I guess no, my work is no longer “local”.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. What do you think about internet communities? Do you find this platform usable for artistic or social connections? Did it help you spreading the ideas of remodernist movement?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Internet communities are kind of a blessing and a curse. One of the problems we have right now is that there isn’t enough of a face-to-face community. We’re all at home or at work on our stupid computers typing away. I can’t think of the last time I was at a coffee shop or something and a random stranger engaged me in conversation (or where I felt comfortable engaging a random stranger in conversation). This was never a problem even fifteen years ago. On the other hand, Remodernist film, Stuckism, Subvex, and most of the collaborations I’ve been part of since maybe 2000 or 2001 have developed over the internet one way or the other. So yes, the internet has been very useful for sharing ideas and starting projects.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">
<br /></span></i></p><p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">Film</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you think that art and film must communicate with the viewer? Do you consider the viewer when you make films?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I think one’s work should never talk down to anyone- however other than that I think it is actually insulting to “consider the viewer”, because to do so requires one to lump different, random people into a generic group, and then make assumptions about their values, experiences and so forth. I think that is not a good thing at all. I think it would be better as a filmmaker/painter/etc. to communicate your own ideas, feelings, and experiences as honestly as possible, using your own intuition. People will find you and will connect with you in a deeper, more real way. People can find the connections even through the obvious differences- because deep down people really do want to connect, although in many ways modern culture is training us only to connect on a superficial level; and this is what we have to work against.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. What is in your opinion postmodernist cinema?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Postmodernist cinema in my opinion is a superficial cinema where filmmakers that love filmmakers and films make surface-ey films that reference other films and filmmakers; but fails to make deeper connections, fails to be personal.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. What is in your opinion “video art” in the context of cinematograph? Does your work refer to video art?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I don’t really watch video art, so I don’t really know what to say about it. I do like some films that are usually considered “experimental” or “avant-garde” like films by Bruce Baillie, Jonas Mekas and others, but those are pretty different from what I think of to be video art. I will say that the stuff I’ve seen projected in galleries is usually not very interesting to me. If you have specific examples in mind and some links I could respond to those if you want.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">
<br /></span></i></p><p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">Methods of your work</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. How would you describe the significance of montage in your films?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I fit things together in my films based entirely upon my intuition. It isn’t something I use a formula to put together. I like Tarkovsky’s thoughts on “sculpting in time”, and Bergson’s “duration”, but it’s not something I’m actively thinking about when I’m working on something. It’s all based on feeling, maybe some kind of internal flow kind of thing.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you follow a specific theory developed by you or others while composing your films?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. No. I think forcing something is a mistake. Having things rattling around inside you is good, those things will come out on their own; but actively saying “this” symbolizes “this” or I will compose this in such and such a way ends up building fake connections I think.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">
<br /></span></i></p><p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">Formats</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Will you consider using video for your films? What were the motives behind filming “Orphans” on video? If it was an experiment, what were your feelings or conclusions?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. If a format seems right I will probably use it. “Orphans” wasn’t a planned thing, it developed out of me messing around with Flip Video- a friend thought it was interesting image-wise so on her recommendation I tried it out- another friend had one and so I borrowed his. There were things I liked about it and things that I didn’t. It’s hard for me to say right now (also I’m unsure how much of that has to do with “Orphans” and how much has to do with Flip Video). I will probably mess around with one again and see what happens. I used a regular digital video camera to shoot a piece of “wonder about patterns in your head” and I liked that interaction quite a bit. I bought a Canon HV-30, so at some point there will be something that I will do at least partially in HD. </span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><span style=""> </span></span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. What do you think about the HD format? Do you like the appearance of images shot in this format? What do you think about the non-material characteristic of this format (no tapes only data)? In your opinion, if HD format would take over the global media,</span><span style="font-family:Arial;"> </span><span style="font-family:Arial;">will the usage of DV format get new artistic meaning?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I haven’t seen much that I’ve liked in HD yet, but I think it’s too early for me to say much about it at this point. Right now it seems like it’s being used badly, many people are using it to emulate Hollywood. I think there are some things that we do need to be thinking about though- on one hand we are losing our archives, our history. We don’t have photo albums, letters, any of that kind of thing in a big way anymore. Our information, much of our art isn’t “tangible” anymore. This makes me sad. Of course some people see this as a good thing, since now there isn’t an object that can be stolen or controlled by a market- so therefore the artist has a new “freedom”. I don’t know what to think about these things yet (or at least today); but I think these are things we all should be thinking about.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you watch television? Would/did you show your films on television?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I have a TV but I only use it to watch movies or DVD’s sometimes, and I don’t even do that very much anymore. “Dexter” is kind of enjoyable though. I rent those when they come out on DVD, other than that I don’t really watch TV anymore. Reality shows give me the creeps.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">I would probably be ok with showing films on TV, depending on the channel, and as long as there wasn’t censorship involved.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. You shoot your films on Super-8 but transfer it to digital data and upload it to the internet. In this way part of the visual features of the films are not preserved for the internet viewer. Do you consider it as limitation over projecting your films analogically?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. Yes the sound Super-8 films that I’ve made recently are edited on the computer. Of course that’s a limitation because I can’t control how they are watched. This is not a perfect situation.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you cut your films by hand or digitally?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I have done and can do both. Usually I cut digitally, but I am going to be doing some new things on Super-8 that will be silent and cut by hand (as well as possibly developed by hand).</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. Do you predict any future artistic value of 3D technique?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. 3-D is just a marketing gimmick right now, but I suppose anything is possible.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">
<br /></span></i></p><p class="MsoNormal" style="text-align: justify;"><i><span style="font-family:Arial;">Other</span></i><i><span style="font-family:Arial;"><o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. How would you describe the place of the artist in the contemporary society?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. The artist right now seems to be an outsider, but maybe that’s how it’s always been.</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">Q. What do you think about the “Altermodern” exhibition and the theory of its curator, Nicolas Bourriaud? In your opinion, is the agenda of this event coordinates with the ideas of remodernism?</span><span style="font-family:Arial;"><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">
<br /></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family:Arial;">A. I wasn’t aware of “Altermodern” until you mentioned it. It just seems to me to be more postmodernism and nothing else. The Tate people just found a hip new way to say the same old things. The difference seems to be that postmodernism and “altermodernism” which looks like the same thing to me, is pretty much an external, surface thing, while early modernism and remodernism are more internal, and come from beneath the surface.</span><span style="font-family:Arial;"><o:p></o:p></span></p> Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-86451824016048350952010-06-20T21:05:00.000-04:002010-06-20T21:06:08.489-04:00CommissionsI am now available for select commission work, preferably photography and films.<br /><br />When contacting me about a commission, please include:<br /><br />Name:<br />Proof of age: (If requesting work with adult content. Must be over 18).<br />Email:<br />Commission type:<br />Commission purpose: (personal or commercial)<br />Notes: (any extra specification about the commission. The more descriptive the better)<br /><br />Please Note:<br /><br />I prefer Paypal for payment.<br />I require 1/2 of the total price for the commissioned work in advance. This will not be refundable.<br />I reserve the right to deny any commission request.<br />Commissioned work is copyright Jesse Richards.<br />All prices will be in U.S. dollars.<br />Depending on scheduling/type of/complexity of commission, there may be a waiting time of several months.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-64127931215371650422010-06-12T07:29:00.009-04:002010-06-13T12:59:24.063-04:00"Youngblood" and "The Spy" by Harris Smith now online!Here are two films by Harris Smith from back at our days at SVA. "Youngblood" is what I would consider proto-Remodernist film, or possibly the very first one. (It was made before the term "remodernist film" was used- but it inspired a lot of what the term would mean, at least to me).<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/pxCMZ86Y1dA&hl=en_US&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/pxCMZ86Y1dA&hl=en_US&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />Also available to see on YouTube is Harris Smith's film "The Spy", also from the same period- and one that I was lucky enough to appear in!<br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/0smFQAk35hY&hl=en_US&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/0smFQAk35hY&hl=en_US&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-38102222509008267372010-03-03T18:56:00.004-05:002010-03-03T20:03:52.773-05:00"The Age of Amateur Cinema Will Return"- one more reason to like Jia ZhangkeI've been a fan of Jia's work since seeing his film "The World". "Still Life" is another favorite. Here's one more reason to like this guy: he argues for a return to amateur film- away from the paralysis of the professional mindset. (Thanks Peter Rinaldi for showing me this)!<br /><a href="http://dgeneratefilms.com/academia/jia-zhangke-the-age-of-amateur-cinema-will-return/"><br />http://dgeneratefilms.com/academia/jia-zhangke-the-age-of-amateur-cinema-will-return/</a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-65763978665206634382010-02-23T22:37:00.006-05:002010-02-28T14:41:38.730-05:00Remodernist Film Manifesto Inspires Multinational Compilation Feature Film (Press Release)Contact:<br /><a href="http://www.blogger.com/remodernist.film@gmail.com">remodernist.film@gmail.com</a><br /><br /><span style="font-weight: bold;">Remodernist Film Manifesto Inspires Multinational Compilation Feature Film</span><br /><br />(New York, NY, February 23, 2010) Members of the Remodernist film movement have united to make a compilation feature film aimed at counteracting current trends of superficiality in world cinema. By means of films that reach toward a new spirituality, the joint project, now going into production, will celebrate imperfection and authenticity.<br /><br />“It is in this time of shallow, arcade-game movies, a largely Hollywoodized world cinema, and a nonexistent truly independent film scene, that the film world desperately needs the kind of work Remodernist filmmakers create,” said Jesse Richards, co-founder of the Remodernist film movement, speaking from his home in Massachusetts. “You hear it everywhere—people saying that today’s movies are full of lies, that people are afraid to make anything authentic. It’s time for cinema to get real again.”<br /><br />Mr. Richards’ 15-point “Remodernist Film Manifesto” is the basis for the short works that will make up the new feature-length film. Filmmakers from the United States, Holland, Ireland, and Iran have signed on to contribute a 10-minute piece to the compilation. They include Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaali, Jesse Richards, Peter Rinaldi, Kate Shults, and Harris Smith.<br /><br />Calling for filmmakers to have the courage to make personal films, embrace flaws, and find “simple truths and moments of humanity” in the cinema they create, “The Remodernist Film Manifesto” differs from the codes that define other film movements in that it articulates a “collection of ideas,” not a “checklist that must be followed precisely.” Among these ideas are the Japanese concepts wabi-sabi (which finds beauty in imperfection) and mono no aware (which relates to the transience of things and the bittersweet feelings that accompany their passing). The manifesto encourages filmmakers to reflect on these concepts when they are conceiving and producing a Remodernist film.<br /><br />The Remodernist film movement harkens back to art movements of the late 19th and early 20th centuries such as Die Brücke and the Vienna Secession, whose members varied in style but shared the common goal of achieving artistic freedom and authenticity. The film movement began to slowly take form during Mr. Richards’ involvement with the international Remodernist art group, Stuckism, which was established in London in 1999 by Charles Thomson and garage-punk musician and artist Billy Childish.<br /><br />-more-<br /><br />Remodernist Film (page 2)<br /><br />Mr. Richards says of the manifesto, “Cynics have maintained that these are ‘rules,’ and creative freedom gets destroyed when rules are imposed. This is a disingenuous argument because firstly, the manifesto is made up of ideas, not rules. Secondly, and more importantly, such detractors are forgetting about the existing rules filmmakers have been indoctrinated into accepting—the ones that get you to trade in vision for supposed salability.”<br /><br />He elaborates, “A filmmaker is always following something, either consciously or unconsciously. If you think this doesn’t apply to you, then you are in the latter category. The ideas expressed in the manifesto may appear restrictive, but they are actually intended to free us from the doctrines that, unbeknownst to us, encircle us and paralyze the creative spirit. The ideas expressed in the manifesto are meant to stir our true selves up and into the work. Once we’ve reached our true selves, we can move out of hidden conformity and create films that are satisfying to make and to watch.”<br /><br />“This is not a movement for the sake of a movement,” observes New York filmmaker Peter Rinaldi. “This is not a publicity stunt to garner attention for the contributing filmmakers. Being a Remodernist filmmaker isn’t advantageous, from a career standpoint. These artists have responded to the ideas in the manifesto because there has been, and continues to be, a starvation happening in the film world, a desire for deeper, more meaningful, personal, and personally spiritual films—in whatever way ‘spiritual’ resonates for you. As technology has advanced, quality of output has suffered. This has to be turned around. It starts with this ‘movement,’ for lack of a better word, and with this compilation film. I could not be more excited about this project!”<br /><br />The feature will premiere in December 2010 at New York’s Millennium Film Center.<br /><br />Participating filmmakers are available for interview or further comment upon request.<br /><br />Press enquiries should be directed to Remodernist Film:<br /><a href="http://www.blogger.com/remodernist.film@gmail.com">remodernist.film@gmail.com</a><br /><br />The “Remodernist Film Manifesto” online:<br /><a href="http://jesse-richards.blogspot.com/2008/08/remodernist-film-manifesto.html">http://jesse-richards.blogspot.com/2008/08/remodernist-film-manifesto.html<br /></a><br />Recent essays on Remodernist film philosophy, published in the magazine MungBeing:<br /><a href="http://www.mungbeing.com/issue_28.html?page=31#2219">http://www.mungbeing.com/issue_28.html?page=31#2219 </a><br /><br /> # # #Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com2tag:blogger.com,1999:blog-5878426118057691313.post-21536939280486299812010-01-19T09:15:00.002-05:002010-01-19T09:18:58.006-05:00Newest to join International Alliance of Remodernist Filmmakers- Dean KavanaghDean Kavanagh, of Dublin, Ireland joined the group today and will be participating in the feature film anthology project. Watch his film "Poor Edward":<br /><br /><object width="400" height="225"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=8198601&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=8198601&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="225"></embed></object><p><a href="http://vimeo.com/8198601">Poor Edward A Film By Dean Kavanagh</a> from <a href="http://vimeo.com/user2612088">EFS Film Archive</a> on <a href="http://vimeo.com">Vimeo</a>.</p>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-32721591863783552772010-01-14T08:20:00.002-05:002010-01-14T08:26:04.069-05:00Remodernist Film Co-Founder Harris Smith to Introduce Teshigahara film in NYCThose of you following us and in the New York area should check this out- Harris Smith will be introducing Teshigahara's THE FACE OF ANOTHER on Friday Jan. 22.<br /><br /><a href="http://www.nyas.org/Events/SCDetail.aspx?cid=89c96735-9a3a-463f-8bbe-ebdbc6f0af5e">http://www.nyas.org/Events/SCDetail.aspx?cid=89c96735-9a3a-463f-8bbe-ebdbc6f0af5e</a>Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com1tag:blogger.com,1999:blog-5878426118057691313.post-25340667184608422622010-01-10T13:15:00.001-05:002010-01-10T13:18:27.723-05:00Collaborative remodernist feature film in the worksDirected by members of the International Alliance of Remodernist Filmmakers. Stay tuned for details.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0tag:blogger.com,1999:blog-5878426118057691313.post-5079516934109051792009-12-29T11:10:00.004-05:002009-12-29T11:26:27.898-05:00The Sublime Moment (Senses of Cinema)Here is an essay in <span style="font-style:italic;">Senses of Cinema</span> that I recently discovered, written by Paul Coughlin in 2000. Although I don't particularly agree with many of the specific sublime cinematic moments that he uses as examples, we are essentially discussing the same thing- the idea of sublime moments within a film causing an understanding of a sort of hidden "truth" for the viewer. This is exactly what I think is one of the most important intentions of remodernist cinema- to make films that have this effect on the viewer by including these kinds of moments of truth.<br /><br />First a quote from my essay "Concepts and Craft in Remodernist Film", recently published in MungBeing Magazine:<br /><br />"A friend of mine was interested in finding out about Remodernist film and I told him to see Ozu's Tokyo Twilight. He did, and although he though the film was flawed in some ways, it helped him understand the essence of Remodernist cinema. There is a scene where it begins to snow outside Chishu Ryu's home, a very small but very specific moment within the film. My friend picked up on it immediately and called me. "I've got it- remodernism - the moment when the snow falls outside the grandfather's house! I understand it now! Everything is fragile and beautiful." He was right, that was exactly what I was talking about. Other examples of this are the Stalker laying down in the grass in Tarkovsky's Stalker, the snow falling inside the house in Carol Reed's Odd Man Out, the boat at the end of Tokyo Story, trains in Ozu's films in general, the old sailor showing his tattoos in Vigo's L'Atalante, the kids pillow fighting in Zero for Conduct, the very long tracking shot of the landscape while accordion music plays on the soundtrack in Bela Tarr's masterpiece Satantango. Actually, every moment of the film Satantango is a good example of this kind of exploration of "moments"- the film starts with a ten minute shot following cows coming out of a barn and wandering around a run-down agriculture collective. These kinds of moments are all but ignored in most examples of modern cinema, and that's a terrible, terrible thing".<br /><br />And here is Coughlin's <a href="http://archive.sensesofcinema.com/contents/00/11/sublime.html">article</a>.<br /><br />I find it very encouraging that there seems to be collective reach toward this kind of cinema that's been building over time.Jesse Richardshttp://www.blogger.com/profile/00702688482781595601noreply@blogger.com0