Invisible Landscapes — Film Screening & Q&A, Nov. 13, 2023

The Department of Art & Art History presents a special screening of the documentary film Invisible Landscapes. This event is free & open to the public. A Q&A with Ivo Bystřičan (Director) and Tereza Swadoschova (Producer) will be held after the screening. 

It sounds like a bird’s song, and you can’t take your ears off it. But it’s not – it’s just the popping bubbles of a melting glacier. A group of musicians equipped with sensitive microphones and headphones set out on an exploration. They head to places in the Czech and Icelandic countryside both marred by industry and untouched by man to discover and understand the sound of catastrophe – the sound of ongoing climate change, which in itself can be far more beautiful, and more imaginative, than what it heralds. While sight allows phenomena and things to be encompassed in a static state and in a certain entirety, hearing allows us to understand how they affect and clash with their surroundings. Sound is the consequence of an event that happened in the past and points towards a future now being decided, one that may potentially be inevitable and destructive for us. It cannot yet be seen in the invisible landscapes, but – if we listen carefully – it is already there. 

Czech Republic, 2022, 48 minutes.

Ivo Bystřičan is Czech documentary director, dramaturg, screenwriter and producer. His work focuses on social and environmental topics with a sociological accent. His feature documentary debut Byeway (2014) focuses on the controversial role of the state in the construction of the highway as a public good. In his films, he dives into the tobacco industry, industrial agriculture, resource extraction, refugee crisis or the evolution of industrial capitalism. He focuses on uncovering the latent functions of institutions and the unintended consequences of an action. Invisible Landscapes is his latest film as a part of the multidisciplinary project Future Landscapes. He also works as a dramaturg of documentary films and audio podcasts, and lecturer of film workshops. He is the author of several documentary podcast series. He graduated from sociology at Masaryk University, Brno and documentary filmmaking at FAMU, Prague.

Tereza Swadoschová is a Czech producer and programmer. Her work engages with science, using art as a primary tool, and emphasizes social and environmental themes. “Future Landscapes,” her latest project, delves into the insights that sound can provide about our future. This is represented through documentaries, a podcast series, a music album, and artistic interpretations of rituals. Tereza is the head of the Inspiration Forum at the Jihlava IDFF. This platform annually hosts discussions on a range of topics from social, political, cultural to environmental issues. She co-founded the first platform in the Czech Republic dedicated to the ethics of documentary filmmaking. A graduate of Masaryk University, Tereza is currently collaborating with artist Kateřina Šedá on a project that focuses on the role of industry in marginalized areas.

VISITOR INFORMATION: Oshman Hall is located in the McMurtry Building on Stanford campus at 355 Roth Way. Visitor parking is free all day on weekends and after 4 pm on weekdays, except by the Oval. Alternatively, take the Caltrain to Palo Alto Transit Center and hop on the free Stanford Marguerite Shuttle. If you need a disability-related accommodation or wheelchair access information, please contact Julianne Garcia at juggarci@stanford.edu

This event is made possible with the generous support of:

CREEES Center for Russian, East European & Eurasian Studies
Department of Art & Art History
Department of English
Department of Slavic Languages and Literatures
Film and Media Studies

The Algorithmic Nickelodeon at Besides the Screen Festival (Vitoria, Brazil, September 9-12, 2019)

BesidesTheScreen

I am happy to report that my deformative, EEG-driven interactive video project, The Algorithmic Nickelodeon, which was screened last month at the ACUD-Kino in Berlin, has been selected for screening at the Besides the Screen Festival taking place in Vitória and São Paulo, Brazil this September. My understanding is that it will be among the works shown in Vitória from September 9-12.

Talks and Events: Germany/Switzerland, June-July 2019

Germany-Switzerland-June-July-2019

This summer, I will be spending a month in Germany, along with a short trip to Switzerland, for a series of talks and other events. Here is the full list:

June 21: “The Algorithmic Nickelodeon” — Screening and presentation at symposium on “Videographic Criticism: Aesthetics and Methods of the Video Essay,” ACUD-Kino Berlin

June 23-28: Stanford-Leuphana Summer Academy 2019: “Against Presentism” — at Stanford Berlin Campus

June 26, 6pm: “Desktop Horror: Screening Fear/Fearing Screens” — Presentation at the JFK Institute for North American Studies, Freie Universität Berlin

June 29: “Discorrelation and Seamfulness” — Presentation at the media-philosophical workshop on “Reflexivity in Digital Media,” Zürcher Hochschule der Künste, Zurich

July 1-19: Research Fellowship at the Institute for Advanced Study on Media Cultures of Computer Simulation — Leuphana University, Lüneburg

July 3: “Images of Discorrelation” — Presentation in the Media Cultures of Computer Simulation/Center for Digital Cultures Evening Colloquium Series, Leuphana University, Lüneburg

July 10: “Post-Cinematic Realism” — Presentation in the Sprache, Migration, und Vielfalt series at the Leibniz Universität Hannover

“The Algorithmic Nickelodeon” at ACUD-Kino Berlin — Symposium on Videographic Criticism

Videographic_Symposium

Next Friday, June 21, 2019, I am excited to present “The Algorithmic Nickelodeon,” a literally mind-bending EEG-powered videographic experiment, in the context of the symposium on “Videographic Criticism: Aesthetics and Methods of the Video Essay.”

The symposium, organized by Kathleen Loock, will take place at the ACUD-Kino in Berlin, and will bring together lots of leading practitioners of videographic scholarship to screen their work and discuss questions of aesthetics, methods, and theory.

The event is free and open to the public, so come by if you’re in the neighborhood!

Carlos Valladares’s Video Essay “Minnelli Red” at Pesaro Film Festival

Screen Shot 2018-06-20 at 10.11.07 AM

Congratulations to Carlos Valladares, who not only graduated with honors from the Stanford Film & Media Studies program this past weekend, but whose video essay “Minnelli Red” was accepted at the Pesaro Film Festival taking place right now in Pesaro, Italy!

Valladares’s video essay, a revised version of his final project for the seminar I taught on “The Video Essay: Writing with Video about Film and Media” last fall, is one of five entries selected by curators Chiara Grizzaffi and Andrea Minuz in the festival’s “(Re)Edit Competition” and is now in the running for a juried award. Good luck, Carlos!

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The complete catalog (PDF) for the 54th Pesaro Film Festival is available here:

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Fembots: From Representation to Reality

deFren-Poster

On Monday, November 13, 2017 (5:30pm in Oshman Hall, McMurtry Building), media maker/scholar Allison de Fren (Occidental College) will be on hand for a screening of her 2010 documentary The Mechanical Bride and her 2015 video essay Fembot in a Red Dress. The screening, which is free and open to the public, will be followed by a Q&A.

Sponsored by the Stanford Department of Art & Art History, the Documentary Film Program, and Stanford’s Frankenstein@200 Initiative.

Film Series on “Imagining Media Change” — Screening #4: Hugo

http://www.youtube.com/watch?v=5Y6OoN1FR6Y

After successfully celebrating the “conceptual centerpiece” of this term’s media initiative activities — our symposium on “Imagining Media Change” — we are going to wrap up this semester’s film series with a screening of Martin Scorsese’s Hugo (2011), curated by Ilka Brasch.

On the one hand, Hugo is a celebration not only of George Méliès (the French filmmaker who is considered to be one of cinema’s founding fathers and a pivotal creator of early trick film), but a collage of 19th and early 20th century media-technological history, featuring everything from trains and automata to late 19th century trick film and 1920s comedy. On the other hand, however, Hugo is also a celebration of the possibilities enabled by the digital age’s return to 3D. As Therese Grisham has pointed outHugo draws on “cultural stereotypes of the past” while simultaneously underlining “our definite entry into the episteme of the post-cinematic”.

Besides offering a form of bricolage or pastiche, Hugo can be read in terms of media archaeology, as both a revisiting and appropriation of visual culture’s history. The film assembles 19th and early 20th century anecdotes in order to provide a new 21stcentury or even post-cinematic anecdote.

As always, the screening — on Wednesday, June 19, 2013 (at 6:00 pm in room 615, Conti-Hochhaus) is free and open to all.

Also, if you haven’t already done so, you might want to consider watching Méliès’ Le Voyage Dans La Lune, one of the turn of the century trick films to which much in Hugo relates back. Here’s an excerpt:

http://www.youtube.com/watch?v=klPHW0Oi6s0

Film Series on “Imagining Media Change” — Screening #3: Digital Short Films

On June 12, 2013 (6:00 pm in room 615, Conti-Hochhaus), the Initiative for Interdisciplinary Media  Research is proud to present the third installment of our ongoing series of film screenings, “Imagining Media Change.”  (See here for a flyer with more details about our film series and related events, and here for a description of the symposium that forms the conceptual centerpiece.)

http://www.youtube.com/watch?v=ylu-uCR4ZZI

In a departure from our usual format of screening feature-length movies, this time we will watch a handful of recent science-fiction-themed ‘digital’ short films –  among them Derek Van Gorder’s and Otto Stockmeier’s Kickstarter-funded short C (299,792 kilometers per second) (2013), Neill Blomkamp’s Alive in Joburg (2006) – the proof-of-concept for what became 2009’s District 9 –  and the first episode of RCVR (2011), a Motorola-sponsored Web-TV series released via Machinima.com and Youtube. All of these films – as products of a throughly digitalized media environment – not only point us to the various transformations connected to contemporary media change (from crowd-funding to the use of digital video and the viral distribution of content via online video sites); as science-fiction films, they are also centrally about futuristic and/or alien technology and present us with their own takes on media change.

As always, the screening is free and open for all! Finally, the films themselves are embedded here in case you can’t make it.

Forbidden Planet (1956): Film Series on “Imagining Media Change” — Screening #2

forbidden_planet

On May 15, 2013 (6:00 pm in room 615, Conti-Hochhaus), the Initiative for Interdisciplinary Media Research is proud to present Forbidden Planet (1956), the second installment in this semester’s series of film screenings, “Imagining Media Change.” (See here for a flyer with more details about our film series and related events, and here for a description of the symposium that forms the conceptual centerpiece.)

As a space-age re-imagining of Shakespeare’s The Tempest, complete with the first fully electronic soundtrack in a feature-legth film, Forbidden Planet challenges us to re-think the discursive and material trajectories according to which histories of film and media change are negotiated in popular culture.

Incidentally, Catherine Grant from the excellent blog Film Studies for Free has assembled a great set of links to open-access and freely available articles about Forbidden Planet, which you can find here.

As usual, our screening is free and open to all, so please spread the word to anyone who might be interested in joining us.