When You Cut Into The Present, The Future Leaks Out
“…and then the walls fell away blowing a hole in his consciousness’ coma, leaving him in what was his room on his what was his chair, now levitating above images in his mind of artist’s renderings of the earth’s core. A projection. Frantically flipping through desiccated pages of memories that crumbled as he turned them over, this useless attempt at orientating himself, actions as necessary as they were futile. Awe wolfed him down its mucus moistened gullet. All that remained of his past was a new, up-to-the-minute clock hanging in front of him that faintly resembled the one that was melting above his fireplace. And this one spoke, each tick a whisper, something like a last, indecipherable wish, something profound, but in reality the clock only said that it would miss McNuggets. Then the blood came, dripping from the joining point where the minute hand met the second. When it went he heard nothing but a slight ‘goosh,’ leaving him with a lap full of blood, mucus and what appeared to be undigested bits of McNuggets.” – Litany Down, “From There It Went” – Random House, 1986
PREVIEW DECAYKE #3: With links to the work and websites of humans and mutants I will be featuring in our next full-blownout issue. While these interviews are about as set in stone as can possibly be, there’s always the chance that there will be more or that I’ll add a few contributors who bring their own thoughts and obsessions to the humble pages of our little zine-who-would-rule-some-ultra-cool subdwarfs about 200,000 light years away.
Scott Foust (Idea Fire Company) – “Open Sesame” From ‘Music From The Impossible Salon’ LP (Kye) 2011
Mattin (with Junko and Michel Henritzi) – “Je T’aime!” ((2008))
Cut Hands – “Black Mamba” (Blackest Ever Black, 2012)
Billy Bao – “My Life Is Shit” (Parts Unknown Records, 2008)
Jesse Richards “Shooting At The Moon”<p><a href=”http://vimeo.com/67002286″>Shooting at the Moon</a> from <a href=”http://vimeo.com/user1893969″>Jesse Richards</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>
REMODERNIST FILM MANIFESTO (Reprinted from Mr. Richards’ site at the preceding link)
Remodernist Film Manifesto1. Art manifestos, despite the good intentions of the writer should always “be taken with a grain of salt” as the cliché goes, because they are subject to the ego, pretensions, and plain old ignorance and stupidity of their authors. This goes all the way back to the Die Brücke manifesto of 1906, and continues through time to this one that you’re reading now. A healthy wariness of manifestos is understood and encouraged. However, the ideas put forth here are meant sincerely and with the hope of bringing inspiration and change to others, as well as to myself.2. Remodernism seeks a new spirituality in art. Therefore, remodernist film seeks a new spirituality in cinema. Spiritual film does not mean films about Jesus or the Buddha. Spiritual film is not about religion. It is cinema concerned with humanity and an understanding of the simple truths and moments of humanity. Spiritual film is really ALL about these moments.3. Cinema could be one of the perfect methods of creative expression, due to the ability of the filmmaker to sculpt with image, sound and the feeling of time. For the most part, the creative possibilities of cinema have been squandered. Cinema is not a painting, a novel, a play, or a still photograph. The rules and methods used to create cinema should not be tied to these other creative endeavors. Cinema should NOT be thought of as being “all about telling a story”. Story is a convention of writing, and should not necessarily be considered a convention of filmmaking.3. Cinema could be one of the perfect methods of creative expression, due to the ability of the filmmaker to sculpt with image, sound and the feeling of time. For the most part, the creative possibilities of cinema have been squandered. Cinema is not a painting, a novel, a play, or a still photograph. The rules and methods used to create cinema should not be tied to these other creative endeavors. Cinema should NOT be thought of as being “all about telling a story”. Story is a convention of writing, and should not necessarily be considered a convention of filmmaking.
4. The Japanese ideas of wabi-sabi (the beauty of imperfection) andmono no aware (the awareness of the transience of things and the bittersweet feelings that accompany their passing), have the ability to show the truth of existence, and should always be considered when making the remodernist film.
5. An artificial sense of “perfection” should never be imposed on a remodernist film. Flaws should be accepted and even encouraged. To that end, a remodernist filmmaker should consider the use of film, and particularly film like Super-8mm and 16mm because these mediums entail more of a risk and a requirement to leave things up to chance, as opposed to digital video. Digital video is for people who are afraid of, and unwilling to make mistakes.** Video leads to a boring and sterile cinema. Mistakes and failures make your work honest and human.***
6. Film, particularly Super-8mm film, has a rawness, and an ability to capture the poetic essence of life, that video has never been able to accomplish.***
7. Intuition is a powerful tool for honest communication. Your intuition will always tell you if you are making something honest, so use of intuition is key in all stages of remodernist filmmaking.
8. Any product or result of human creativity is inherently subjective, due to the beliefs, biases and knowledge of the person creating the work. Work that attempts to be objective will always be subjective, only instead it will be subjective in a dishonest way. Objective films are inherently dishonest. Stanley Kubrick, who desperately and pathetically tried to make objective films, instead made dishonest and boring films.
9. The remodernist film is always subjective and never aspires to be objective.
10. Remodernist film is not Dogme ’95. We do not have a pretentious checklist that must be followed precisely. This manifesto should be viewed only as a collection of ideas and hints whose author may be mocked and insulted at will.
11. The remodernist filmmaker must always have the courage to fail, even hoping to fail, and to find the honesty, beauty and humanity in failure.
12. The remodernist filmmaker should never expect to be thanked or congratulated. Instead, insults and criticism should be welcomed. You must be willing to go ignored and overlooked.
13. The remodernist filmmaker should be accepting of their influences, and should have the bravery to copy from them in their quest for understanding of themselves.
14. Remodernist film should be a stripped down, minimal, lyrical, punk kind of filmmaking, and is a close relative to the No-Wave Cinema that came out of New York’s Lower East Side in the 1970’s.
15. Remodernist film is for the young, and for those who are older but still have the courage to look at the world through eyes as if they are children.
** The only exceptions to Point 5 about video are Harris Smith and Peter Rinaldi; to my mind they are the only people who have made honest and worthwhile use of this medium. (Aug. 2008)
***(The position on digital/video has changed since this manifesto was written in 2008- the group is inclusive toward use of any motion picture format. See recent essay here).