Posts tagged with "Film":
CALL FOR STUDENT FILMSWe seek 1 to 2-minute student films about women. This project will continue the efforts to write women into architectural history, this time via video.
SPONSORED BY ARCHITEXX
THE SUBJECT OF YOUR FILMS:We seek to have the subjects of these 1-minute films be about women architects, defined expansively. These are women who were educated as architects, or educate others to become architects. Women from wide and diverse practices, demonstrating the myriad ways women trained as architects have participated and continue to participate in the built environment and design related fields. For example, these could be women who spent their careers at large or mid-sized or small firms, in City Planning departments, as sole practitioners, as educators, historians, as landscape designers, as well as those who go on into other design-related industries such as interiors, exhibition design, film, production design, art installations, gaming, fashion, to name but a few. This project seeks to demonstrate that women have been vital to the practice of architecture for decades, while radically under recognized. This project works with other global efforts to change that!
THE FOLLOWING QUESTION MUST BE INCLUDED IN YOUR FILM:What about this architect's work has inspired / impacted / influenced you or you learned from?
FILM REVIEW + SCREENING PROCESS:Each of the finished films will be reviewed by an esteemed jury of architects, design professionals and industry leaders. A selection of the films will be publicly screened during New York City’s Archtober month-long focus on architecture and will be available online once they have screened.
FILM SUBMISSION REQUIREMENTS:1. Each film is to be between 1 to 2 minutes long 2. Opening and closing credits including required citations, may be up to an additional 10 seconds in total 3. We encourage original content and in-person interviews whenever possible as well as the use of public domain images and music. Please see the following for more ideas: https://archive.org/ http://freemusicarchive.org/member/cheyenne_h/blog/A_Ton_of_Public_Domain_Songs 3. Films may be in any language, non-English audio or on-screen text, must have English subtitles 4. All submissions are due by May 31st 8pm EST, including sending a downloadable link to firstname.lastname@example.org that includes the short film and two (2) still images from the film. For some inspiration, take a look at #wikiD, Rebel Architette, Una dia / Una Arquitecta https://www.architexx.org/subtexxt/wikid-women-wikipedia-design https://www.facebook.com/architettearchiwomen/ https://www.facebook.com/undiaunaarquitecta/
WOMEN ARCHITECT 1MIN FILM PROJECT CHAIRS
LORI BROWN, PROFESSOR, SCHOOL OF ARCHITECTURE, SYRACUSE UNIVERSITY
DALE B. COHEN, ASSOC. AIA, OWNER OF DALE COHEN DESIGNSTUDIO
The following is excerpted from Film Forum: Under Construction 2018.
The images that you see here were captured on a worksite for the expansion of Film Forum, a place where people gather with a group of strangers to watch a story unfold —something that is increasingly unusual these days. They are a celebration of an ancient ritual married to a modern technology. The technology develops but the ritual decays.What do these photographs say about watching movies? What do they recall and what do they suggest? How is it that beneath the formal pleasures of their design, their abstraction, and their use of color, they conjure something concrete about shared experience? Like a lot of abstractions, and certainly like many of Jan Staller’s photographs, these pictures are not only about a surface but the materiality below the surface. In this case the materials are the brick and mortar of the theater itself and the steel and brittle celluloid of projectors, reels and filmstrips—objects that look now like sacraments of the earliest technology of the art form. They are evocative because they are tactile. My first exposure to the movies was more sterile and electronic. It took place alone, in a dark room, late at night in front of a television set. In this respect, it was closer to the way that most people watch movies today. As I got older I went to movie theaters, spending hours of my youth in palaces called The Orpheum, The Lyric, and more prosaically (and appropriately), The Suburban World. There was something fundamentally different about going to a theater. The impact of the experience was magnified literally by the scale of its presentation and emotionally by the act of sharing it with a community. And just as importantly, by its appeal to the sensorium, something that most modern technology abjures. The theater was itself a machine, one that you entered, was turned on, and then would grind into action. Its constituent parts were hidden but somehow felt. That’s part of what these photographs evoke, but for me they also evoke memories of my early days as a film editor, when you felt the film in your hands and heard the clack of the sprockets as it ran through the machines. But before waxing too nostalgic about the older ways of doing things, it may be useful to think about two movies that I saw for the first time at Film Forum. They were both by F. W. Murnau, a German filmmaker who came to Hollywood in 1926. The first, Sunrise, was made in 1927 and is certainly one of the greatest movies of the silent period. It was a huge success, and William Fox, the man who had brought Murnau to America and who was the producer of Sunrise, asked him to do another movie. In his youth, Murnau had been something of a gear head—he was fascinated by cameras and new technology. In the interim between Sunrise and his next film for Fox, The City Girl, sound had been introduced. The new technology was alien to Murnau as an older man. He couldn’t reconcile it with his taste or his process and The City Girl was made and released as a silent film with title cards instead of dialogue. Watching it now one wonders what it would have been like otherwise. A cautionary tale about aging out of your era. The movies are wedded to technology, and for better or worse as the technology advances it changes not only how they’re made, but what we actually see and how we watch them. At a certain point resistance seems quaint and misguided. The opportunities in most cases outweigh the things we lose. The sensual pleasures of pre-digital machines are probably lost forever, but the act of gathering to watch stories, to be part of an audience, would be dangerous to lose. It is ancient and fundamental. So let’s celebrate one of the few institutions that continues to expand that opportunity. These pictures do, and they do something else—they get under the skin.
Below are dates and descriptions available on the ADFF website. JULY 27 - OCTOBER 29 ADFF: Seoul @ Storage Seoul, South Korea Presented by Storage, an experimental exhibition space opened by HyundaiCard, ADFF will screen three films per day over a four-month period. The gallery shows alternative works covering architecture, design, film, and contemporary art. AUGUST 24 - 27 ADFF: NOLA New Orleans, Louisiana Presented by the Louisiana Architectural Foundation (LAF), the opening night of the second annual ADFF: NOLA (August 24) will be held at the Contemporary Arts Center followed by a special screening of Designing Life: The Modernist Legacy of Albert C. Ledner at the New Orleans Museum of Art (NOMA) on Friday, August 25. All other screenings will be held at the Broad Theater. SEPTEMBER 23 - 24 ADFF: Tippet Rise Fishtail, Montana ADFF will present a curated selection of nine feature-length documentaries and three film shorts at the Tippet Rise Art Center—the 10,260-acre sculpture park and classical music center in the Montana highlands. On Saturday, September 23, Frances Anderton, host of KCRW’s DnA, will moderate a conversation with artist Stephen Talasnik, architect Débora Mesa, and Tippet Rise co-founder Peter Halstead. SEPTEMBER 26 – 27 Ace Hotel Screenings Chicago, Illinois During the Chicago Biennial, ADFF will host two rooftop screenings at the Ace Hotel. On September 26, the winner of AIA’s ‘I Look Up Film Challenge’—an initiative that encourages architects and filmmakers to collaborate and produce short film— will make its world premiere in addition to a screening of Design that Heals with Mass Design Principal Alan Ricks. OCTOBER 11 ADFF: Short Films Walk New York, NY ADFF and SoHo Design District present the 4th Annual Short Films Walk (SFW), where participating SoHo showrooms will screen a unique program of film shorts curated by ADFF. This year’s walk will be held from 5:00 - 9:00 pm with an expanded list of locations. NOVEMBER 1-5 ADFF: New York New York, NY In its ninth edition, ADFF’s annual anchor festival in New York will present a series of feature length and short films, panel discussions, filmmaker Q&A's, and more, at Cinépolis Chelsea (260 West 23rd Street, NYC). Film highlights include Columbus, Building Home: The Maggie’s Centres, Glenn Murcutt: Spirit of Place, Integral Man, and Land Artists: The Story of Denton Corker Marshall.
Liam Young: New Romance is the first solo exhibition for the filmmaker, storyteller, futurist, and architect in the U.S., presented by the Arthur Ross Architecture Gallery at Columbia. Young’s work is an examination of fiction, technology, and the near future through cinema and visualization. The exhibit will feature three of Young’s short films: In the Robot Skies (2016), an exploration of love in the time of drone surveillance; Where the City Can’t See (2016), a look at subcultures in the near-future world of data shot entirely with laser scanning technology; and Young’s most recent film, Renderlands (2017), a look at the half-realities of rendered worlds built with the leftovers of digital rendering projects. Alongside the films will be several props Young created for the work and research he utilized for his fictitious cinematic universes, emphasizing his focus on existing technologies and networks and how he begins to project them into unknown futures.
Liam Young: New Romance The Ross Gallery in Buell Hall Columbia University 1172 Amsterdam Avenue, New York City Through May 13, 2017