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Category / — Online Articles / Reviews
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Process and Material plinths: Margaret Honda’s films
Read this conversion between Margaret Honda and Arindam Sen.
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White Women Are a Curse Against Their Sex: A Conversation with Kathryn Ramey
Read this conversation with Kathryn Ramey by Sarah Keller and Yangqiao Lu from MFJ No. 79 “Re:presentation”.
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Through a Lens that Wasn’t My Own: Vernacular Video and the Digital Archive
Read this conversion between writers and filmmakers Liat Berdugo and Peter Snowdon.
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Between the analytical and the sensorial, Film as conceptual performance: A conversation with Anthony McCall
Read Arindam Sen’s interview with Anthony McCall.
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EMAF 2022 Continued: Commentary on Selected Works
Read Grahame Weinbren’s European Media Art Festival (EMAF) 2022 online review. This is a continuation of a printed review in MFJ 76 “Worlds”.
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Video Player is loading.Commute
Read Paul Arthur’s journey with Bruce Baillie’s 1995 video portrait “Commute.” This article was published in MFJ No. 29 “Video Installation.”
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Shared Resources
Read Carmine Grimaldi’s in-depth review of Jordan Lord’s 2021 documentary “Shared Resources.” This article was published in MFJ No. 75 “Boundaries.”
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Video Essay: Virtual Horizon or après le feu and the vanishing point of the real
Vincent Warne traces the continuity from the Lumières’ Arrival of a Train at La Ciotat (1896) to Jacques Perconte’s Après le feu (2010).
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Painting the Light Fantastic: Carl Brown
Mike Hoolboom reviews Canadian filmmaker Carl Brown’s early work, which he claims is part of the “invisible cinema scene.”
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NYC Symphonies of the Millennium Film Workshop
MoMA introduces a new film series featuring Millennium Film Workshop filmmakers. Get the full details for the first two events happening this February.
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Editors’ Picks – Winter 2022
Our editors have curated a special selection of events for MFJ readers we believe are a must-see this winter season 2021/2022!
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Thoughts on Shirley Clarke and The TP Videospace Troupe
Andrew Gurian reviews Shirley Clarke and The TP Videospace Troupe. Clarke’s workshops were live and evanescent events; what remains are fragments.
