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199714424:

The Mysteries of the Chateau of Dice (Man Ray, 1929)

199714424:

The Mysteries of the Chateau of Dice (Man Ray, 1929)

L’Âge d’Or (Luis Buñuel, 1930)
(via miss-catastrofes-naturales, thinkingabouthow)

L’Âge d’Or (Luis Buñuel, 1930)

(via thinkingabouthow)

experimentalcinema:

Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) (via always-returning)

roserosette:

Invocation of My Demon Brother, 1969, Kenneth Anger

roserosette:

Invocation of My Demon Brother, 1969, Kenneth Anger

foxesinbreeches:

Stills from Syntagma by Valie Export, 1983

Also

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

foxesinbreeches:

Stills from Film Stenopeico by Paolo Gioli, 1974-1989

"This film, as the Vertovian title indicates, was made without a movie camera, more precisely with a device custom made to restore to images freedom from optics and mechanics. The act of substituting my device for a traditional movie camera is part of a project I have continued from that moment on towards weaning myself from a consumer technology, a toxin to pure creativity. This strange movie camera is a simple hollow metal tube, one centimeter thick, two centimeters wide, and a little more than a meter long. At the ends, two reels hold 16mm film. Film is pulled through manually causing alternations of time and space. The images enter simultaneously through 150 holes distributed along one side in proximity to each frame, that come to make up 150 tiny pinhole camera obscuras, also called stenopeic from the Greek stenos = narrow and from the stem op- from orào = to see. These tiny holes, when placed, for example, in front of a standing human figure, can explore it in its verticality but without any movement, which is appropriate since each hole will take in a single point, the detail in front of which the hole lies. One of the most obvious results will be to find oneself confronted precisely with a movement of the camera that never happened; somewhat magical pneumatic flutterings running longitudinally and transversally along a face and body reconstructed through 150 image points.”

raveneuse:

Kurt Kren & Otto Muehl, O Tannenbaum, 1964.

raveneuse:

Kurt Kren & Otto Muehl, O Tannenbaum, 1964.

199714424:

The Mysteries of the Chateau of Dice (Man Ray, 1929)

199714424:

The Mysteries of the Chateau of Dice (Man Ray, 1929)

L’Âge d’Or (Luis Buñuel, 1930)
(via miss-catastrofes-naturales, thinkingabouthow)

L’Âge d’Or (Luis Buñuel, 1930)

(via thinkingabouthow)

experimentalcinema:

Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) (via always-returning)

roserosette:

Invocation of My Demon Brother, 1969, Kenneth Anger

roserosette:

Invocation of My Demon Brother, 1969, Kenneth Anger

foxesinbreeches:

Stills from Syntagma by Valie Export, 1983

Also

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

199714424:

Emak-Bakia (Man Ray, 1926)

foxesinbreeches:

Stills from Film Stenopeico by Paolo Gioli, 1974-1989

"This film, as the Vertovian title indicates, was made without a movie camera, more precisely with a device custom made to restore to images freedom from optics and mechanics. The act of substituting my device for a traditional movie camera is part of a project I have continued from that moment on towards weaning myself from a consumer technology, a toxin to pure creativity. This strange movie camera is a simple hollow metal tube, one centimeter thick, two centimeters wide, and a little more than a meter long. At the ends, two reels hold 16mm film. Film is pulled through manually causing alternations of time and space. The images enter simultaneously through 150 holes distributed along one side in proximity to each frame, that come to make up 150 tiny pinhole camera obscuras, also called stenopeic from the Greek stenos = narrow and from the stem op- from orào = to see. These tiny holes, when placed, for example, in front of a standing human figure, can explore it in its verticality but without any movement, which is appropriate since each hole will take in a single point, the detail in front of which the hole lies. One of the most obvious results will be to find oneself confronted precisely with a movement of the camera that never happened; somewhat magical pneumatic flutterings running longitudinally and transversally along a face and body reconstructed through 150 image points.”

raveneuse:

Kurt Kren & Otto Muehl, O Tannenbaum, 1964.

raveneuse:

Kurt Kren & Otto Muehl, O Tannenbaum, 1964.

About:

foxesinbreeches' depository for cinematic masturbation.

Pervasive themes include nuns, noir, trash, art-wank, viscera, boobs, surrealism, and varying combinations thereof.

Here, we dream longingly of resurrecting the respectively pickled cadavers of Divine and Oliver Reed for a neo-noir Sapphic nun film based loosely on The Story of the Eye, made highbrow through an aspiring Bernard Herrmann soundtrack written by Goblin, and recycling the dolphin fountain pool last used for Showgirls as a chief prop.

Submissions welcome. Ask away too, but it should be noted that we're currently unable to explain why remaking The Wicker Man, I Spit On Your Grave or Sisters was ever considered, nor why Bitter Moon exists.

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