Unspoken Cinema

New addition to the Library page at Unspoken Cinema: "Responding to the accelerating technological landscape and contemporary life, this paper researches how the concept of ‘time’ plays a significant role. The author, an experimental filmmaker, charts an experiential journey within several pivotal ‘dream films’, along with relevant artists’ moving images in relation to time and slowness in the moving image as critical media.  As contemporary life has become more and more fast paced, and one year on the impact of COVID-19 is still being felt, the idea of stillness is beginning to become a more desirable commodity. The author explores ‘slow cinema’, acknowledging seminal directors Andrei Tarkovsky and Claire Denis, as well as art films which frequently emphasise long takes, offering minimalist aesthetics with little or no narrative. In an endeavour to portray different  temporalities and reveal and allude to the invisibility of time, the author relates to Julia Kristeva’s notio...

  Landscapes are Poetic Cinema ｜Video Essay (YouTube) 1h03' Unfeatured Films - 15 nov 2023 Read also at Unspoken Cinema: Losing the ability to contemplate Nature for itself

Trafic : 20 ans, 20 films ( Hervé Gauville)  - Craneway event - Tacita Dean 15 janvier 2012 ( centrepompidou ) 11'05" En novembre 2008, Tacita Dean a filmé Merce Cunningham (1919-2009) et sa compagnie de danse répétant pour un événement dans une ancienne usine d'assemblage Ford conçue par Albert Kahn à Richmond en Californie. L'ultime collaboration avec le chorégraphe, disparu quelques mois plus tard. Choisi et présenté par Hervé Gauville.  « L'impressionnant décor de Craneway, sa beauté unique, sont parfaitement en résonance avec l'écriture chorégraphique de Merce Cunningham. Pour Tacita Dean, il ne s'agissait pas de réaliser un documentaire de plus sur Merce et sa compagnie mais de transformer l'observation de leur travail en une vision onirique, quasi mythique. Les hangars de Craneway ouvrent sur l'océan. Les vastes verrières qui éclairent les séquences filmées dessinent simultanément des zones d'ombre, des contrejours, qui rendent én...

Much ado about nothing People complain that not much ever happens in Tacita Dean's films. But that's the whole point. By Jeanette Winterson, The Guardian , 29 September 2005 on Fernsehturm (2001); also mentionned : Girl Stowaway (1994); Disappearance at Sea (1996); Disappearance at Sea II (1997); Teignmouth Electron (1998); Pie (2003). "This summer we had the pleasure of walking alongside the Thames between the Hayward Gallery and Tate Modern, and finding not one but two major women artists dominating both spaces. Rebecca Horn and Frida Kahlo were an exciting double first and, this autumn, women will again be major players in the art galleries, with new work by Rachel Whiteread, Sarah Lucas, Gillian Wearing and Tacita Dean coming our way. Four women, and four British women, is good news. British art right now is robust, world-class and ground-breaking. We can be especially pleased that so much of the new energy and direction is coming from women. Anyone who doubts t...