Future Cinema

Course Site for Future Cinema 1 (and sometimes Future Cinema 2: Applied Theory) at York University, Canada

Network Aesthetics & Brakhage

  1. Jagoda makes the distinction between the human and nonhuman dimensions of networks. What constitutes this nonhuman side of network? Is it even possible to have a purely nonhuman dimension of network? Could you please elaborate on this dichotomy?
  2. I do not see the importance of recognizing such films as a distinct genre or subgenre, but fiction films such as Love Actually, Traffic, and Nashville are categorized by Jagoda and critics as “criss-crossers” or “multiprotagonist films.” Does this apply to documentaries such as Science Fair and Mad Hot Ballroom? Can documentaries be seen in the same light?
  3. Can we attribute the reason why Journey Stories stand out in terms of its content and praise of the game compared to other game forums to the game’s aesthetics and style which appeals to a certain crowd or does the game truly possess transformative powers? I am a bit skeptical since the player’s account which Jagoda includes in Chapter 4, hints at depression and escapism: “I simply had nothing else to do…it felt like that was exactly where I was supposed to be…because my terrible day had put me in a fragile, emotional state already.” What do you think?
  4. I have immense respect for Brakhage and his craft, but I simply could not sit through the entire screening of his Painted Films. ‘Poetic’ work does not equate to soothing or fluid visuals, but I found his films to be violent in its delivery and disconnected. Filmmaker, Nathaniel Dorsky, speaks of Brakhage’s films as “a body of silent work of fragile beauty,” “a poetic exploration near the pinpoint of mind where light, spirit, and body come upon one another.” My experience was that of headache, discomfort, and unpleasantness. Am I the only one who felt this way?

Wed, November 14 2018 » Future Cinema