conor. @filmvisuality - Tumblr Blog

Forgot to share this about a month back when it was released.

Déjà vu, death drives, the art of spilling popcorn, movie masochism, film as insatiable monster, sick sad world.

My latest video work, Runtime, is a hypothetically endless loop of cinema-set sequences in horror films. It was commissioned as part of a great new video art initiative in Australia called Prototype.

#anightmareonelmstreet #freddykrueger #horror #schlock #b-movie #video art #thetingler #messiahofevil #finaldestination #john carpenter

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filmvisuality

It is absolutely wild to me that a James Benning still has over 2 million notes on here.

The film in question is Los (2001), the middle film in his California Trilogy.

#james benning #los #landscape film

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I’m going to the Michael Chion concert on Thursday, and this 4:3 interview is a great lip-whetter.

Imagine being asked a question like this on a festival circuit, and being afforded the space to answer as Chion does:

“It’s true that a recording gives us a completely different relationship to sound and music compared to hearing in the same space that a sound is produced. One of the central tenants of musique concrète is this idea of the acousmatique — that is, of sounds whose sources are hidden or obscured. What is the attraction for you of this causal obscurity?

That’s an interesting question, because in terms of musique concrète, it’s not so much the “hiddenness” of the source of sound that interests me, but the qualities of sound in and of themselves. The French composer François Bayle came up with the term “acousmatique music” to refer to the fact that we don’t see the source.1 For me, when I started making this kind of music, what interested me — and still interests me to this day — is making the sounds that I want without the limits and restrictions of instrumental music. This ability to fix and control sounds.

But this [control] is only possible in what I call musique concrète and others call acousmatique, that is, a music of fixed sounds. The fact that we don’t see the cause may add a poetic dimension to the experience. But I don’t think that’s the main thing that interests the listener; it’s the musical discourse [discours musical] and the sound. And so the cause no longer has importance, at least in musique concrète.

As for [the acousmatique in] the cinema, my interest laid in the fact that, after starting to work on sound in cinema, I noticed that certain films that had really impressed me depended on the separation of the voice from the body. This is linked to the history of various media. For example: radio. At the beginning of the 1920s, when the medium was in its infancy and was much more popular than it is now, people had to listen with headphones. Radio sets came at the end of the 1920s, and people began listening — collectively — to fictional programs and serials. Traces of this reappear in the first sound films developing at the same time, where we find these invisible characters and sinister masters.2 One associates the acousmatique dimension of radio with the image in cinema, and we see the creation of these effects that are by turns poetic and horrifying. I think this plays a very important role in the cinema.”

Tramp The Dirt Down – Landscape in Brian Trenchard-Smith’s Turkey Shoot (1982)

My latest video for the Australian arts journal RealTime is all about the Ozploitation film Turkey Shoot, which I have recut into a sort of eco-revenge fable.

More info: http://www.realtime.org.au/tramp-the-dirt-down-landscape-in-brian-trenchard-smiths-turkey-shoot-1982/

#turkey shoot #ozploitation #brian trenchard-smith #video essay

Josh and Benny Safdie's energetic thriller plays out like a neon-drenched episode of COPS, propelled by Daniel Lopatin's score and Robert Pattinson's manic performance.

Where Isao Tomita’s Moog renderings of Debussy haunted the New York streets in the Safdies’ last film, Heaven Knows What, Lopatin’s music fires up just as it would in a video game, triggered by and responding directly to the actions of a character on screen. It underscores the structure of Good Time too, a film of discrete sequences that plays out like a visually arresting episode of COPS, with a series of unusual crimes and police reports all connected by one man perpetually on the lam.

My review of one of the best films I’ve seen all year, Good Time, at Melbourne International Film Festival.

#miff2017 #qldff2017 #good time #josh and benny safdie #robert pattinson

A new video essay from me over at RealTime.

Procedural: Zodiac and the Digital Cityscape Conor Bateman observes how analogue and digital, real and constructed, bleed into a paranoid, video-game vision of 1970s San Francisco in David Fincher's classic crime procedural, Zodiac.

#video essay #zodiac #david fincher #video games #gta v

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Twin Peaks: The Return (David Lynch, 2017)

#music

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I think about this song a lot

#music

#mos def #yasiim bey #isley brothers #music

#music #prince

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Big Fun (2009)

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no offense but i can’t stop listening to this banger

#music

My latest video essay, commissioned by Australian arts publication RealTime, looks at Kirsten Johnson’s 2016 documentary collage Cameraperson.

From RealTime editor Lauren Carroll-Harris:

“In this video essay produced especially for RealTime, Sydney-based critic and video editor Conor Bateman shows how Kirsten Johnson has hijacked conventional forms of editing, montage and dialogue to contribute something entirely new to documentary cinema.”

#cameraperson #kirsten johnson #documentary #video essay