Opening reception Saturday, May 16, 2009 at 5:00pm

Exhibition will remain on view from May 16 - June 6

Media artist, occultist, painter, filmmaker, record producer, and director of the London based Equinox Festival Raymond Salvatore Harmon will present this rare exhibition of his paintings at the Secret Project Robot gallery in Brooklyn in conjunction with this year’s No Fun Fest.

Harmon’s work draws heavily on the abstract visualizations of various esoteric and ecstatic traditions. Rooted in the spray paint based work of street art these brightly illuminated creatures seem to project forth from the subconscious ocean of nightmare and surrealistic dreamscapes associated with the use of trance inducing entheogenic consumption.

First coined by the English author Edward Bulwer Lytton in his groundbreaking novel Zanoni (1842) the “Dweller on the Threshold” represents a form of guardian whose role in the development of the spiritual path of the mystic is one of both opposition and reflection. Harmon’s work represents the output of visual meditations on the various aspects of the Dweller as represented in the fiction of Lovecraft, Borges, Cortazar, and the writing of Thomas Vaughan.

Join us in celebrating the unknown recesses of the human mind during this one of a kind exhibition. Opening reception Saturday May 16th at 5pm.

+++

Saturday, May 16 - Opening @ 5pm with a performance by CM*Chaos Majik and video by Raymond Salvatore Harmon

Sunday, May 17 @ 6pm - Raymond Salvatore Harmon will deliver a lecture entitled “On the Nature of Light: The Cinematic Experience as Occult Ritual” based on his recently published essay of the same title in MIT’s Performance Arts Journal.

Hosted by Secret Project Robot @ Monster Island 210 Kent Ave (entrance on river street) Brooklyn, NY 11211

http://www.raymondharmon.com
http://www.pendu.org

Share This

Featured:

March
Selected by Naomi Beckwith

1. Tristan Tzara “A Note On Negro Poetry” (1918)
2. Stan Douglas “Der Sandmann”
3. Ben Patterson Tells Fluxus stories [MP3]
4. Stephen Vitiello “Drum and Organ” [MP3]
5. Farfa “Affaraffari” [MP3]
6. Alfred Leslie & Frank O’Hara “The Last Clean Shirt”
7. Anton Corbijn “Some YoYo Stuff: An observation of the observations of Don Van Vliet”
8. Mona Hatoum “Measures of Distance”
9. Tehching Hsieh “One Year Performance No. 2″
10. Aram Saroyan “Crickets” [MP3]
BONUS: Ming Xiao-Fen Live at Roulette

Naomi Beckwith is a curator at the Studio Museum in Harlem.

New:

C. Spencer Yeh - Audio Works (2005-2009)
Yeh is active both as a solo and collaborative artist, as well as with his primary project, Burning Star Core. As an improviser, Yeh is focused on developing a personal vocabulary using violin, voice, and electronics. As a sound artist/composer, Yeh works with all aspects available surrounding a work, aurally and physically, as elements key to the cumulative experience. He is concerned not only with the sensual aspects of ’sound organization,’ but the gestural qualities as well. Yeh has collaborated with a deep and ever-growing list of artists and groups, including Tony Conrad, New Humans with Vito Acconci, Evan Parker, Thurston Moore, Amy Granat with Jutta Koether, Justin Lieberman, Don Dietrich and Ben Hall (as The New Monuments), Prurient and Jandek. Included here are several full-length albums, assorted singles and radio works, featuring solo and collaborative works.

Jonathan Meese Scarlettierbaby’s Revolutions Parfum: Dictatorship of Art (2008)

Jesper Just Bliss & Heaven (2005); A Vicious Undertow (2007)

Andreas Gursky Gursky Wolrd (documentary, 2002)

Meredith Monk Ellis Island (1981); Book of Days (1989)

Neil Goldberg Eight Films (1993-2000)

People Like Us Nine Additional Films [see features column] (1999-2008)

Share This

VALIE EXPORT …Remote… Remote… (1973); Mann & Frau & Animal AKA Man & Woman & Animal (1973); Syntagma (1983)

Nick Zedd War is Menstrual Envy (1992)

Takeshi Murata Silver (2006)

Francis Thompson NY, NY: A Day in New York (1957)

Ken Jacobs A Tom Tom Chaser (2002)

Nam June Paik Lessons from the Video Master (Documentary, 2006)

Jose Luis Castillejo The Book of I’s (1969)

Bernard Heidsieck 50/70

Share This

Featured:

February
Selected by Dennis Cooper

1. Alexander Kluge ‘Brutality in Stone (Yesterday Goes on Forever)’
2. Ryan Trecartin ‘I-Be AREA’
3. Alain Robbe-Grillet ‘Jealousy’
4. Douglas Huebler ‘Variable Piece 4 New York City: Secrets’ [PDF]
5. Tellus #15: The Improvisors
6. Rene Ricard ‘Rene Ricard famous at 20′
7. Chris Burden ‘Documentation of Selected Works 1971-74′
8. Claude Simon ‘Properties of Several Geometric and Non-Geometric Figures’
9. Glenn Branca/The Static ‘The Static’
10. Terayama Shuji ‘Experimental Image World Vol. 1′

Dennis Cooper is the author of eight novels, most recently ‘The Sluts’ and ‘God Jr.’ (both 2005). With the French director Gisele Vienne, he has co-created theater five works, most recently ‘Jerk’ (2007). He’s a Contributing Editor of Artforum, and editor of the publishing imprint Little House on the Bowery/Akashic Books. His blog is here.

January
Selected by James Hoff

1. Sjollander/Weck: Extracts from Monument
2. Ron Rice: A Brief History of Anti-Records and Conceptual Records
3. Alan Sondheim: Run by Me
4. Ulay: Action in 14 Predetermined Sequences
5. Joseph Nechvatal: viral symphOny (28′09″)
6. Henry Chopin Performance: Undated
7. CoLab: All Color News Sampler
8. John Cage / Wim Mertens “So that each person is in charge of himself.” from A Dip in the Lake
9. Dec-Francis: Rant 2
10. Charlemagne Palestine: Island Song

James Hoff is an artist living in New York City. He, along with Miriam Katzeff, is the co-founder of Primary Information.

New:

Brian Joseph Davis - Audio Works (2004-2008)
UbuWeb is pleased to feature soundworks from this innovative young Toronto-based artist. Extending the vocabulary of Pluderphonics, Davis’ brilliant media deconstructions are pointed and hilarious at the same time, with each concept perfectly matching its aural form. Included here is Minima Moralia, punk rock versions of Adorno tracts; 10 Banned Albums Burned Then Played is exactly what it sounds like, and includes discs by everyone from Stravinsky to the Sex Pistols to 2 Live Crew; Greatest Hit is a collection of single tracks composed from entire “Greatest Hits” albums (imagine all 22 songs of The Carpenters’ 1968-1983 playing simultaneously); the hilarious Yesterduh, where passersby were stopped and asked to sing, from memory and with no practice, the Beatles’ “Yesterday”; Original Soundtrack, a piece derived from the sounds of 20 DVD menus; Voice Over, a script composed from over 5000 film taglines then performed by a professional voice over artist; and Eula, where a women’s chorus sings the End User License Agreement.

Tony Oursler EVOL (1984)

Lev Manovich Soft Cinema (2004)

Rebecca Horn An Erotic Concert (1998)

Brian Eno 14 Video Paintings (1981 and 1984)

Robert Irwin Primaries and Secondaries (2008)

Emile de Antonio Painters Painting (1969)

Michael Snow One Second in Montreal (1969)

Share This

1. Robert Ashley - Music with Roots in the Aether
2. Joe Jones/ Chicken to Kitchen Fluxus Meditation from Fluxsaints (1992)
3. Robert Wilson - Christopher Knowles The Sundance Kid Is Beautiful (1975) from Giorno Poetry Systems, Big Ego
4. Wolf Vostell - De/Collage [LP] (1980)
5. John Cage and Raahsan Roland Kirk - Sound?? (1966)
6. Nicholas Moore, Spleen (Ubu Editions, 2004)
7. Pina Bausch Documentary (directed by Anne Linsel) (2006)
8. David Behrman, Long Throw (Roulette, 2008)
9. Derek Bailey, Interview by Henry Kaiser (1987)
10. Vito Acconci, The Bristol Project (2001)

Julian Cowley contributes regularly to The Wire and occasionally to other music magazines. He has also lectured and written extensively on literature. During the 1980s he had the good fortune to work closely for several years with poet and critic Eric Mottram, whose inexhaustible conversation was, in effect, a foretaste of the UbuWeb experience.

—–

November 2008
Selected by Neville Wakefield

1. Willoughby Sharp Interviews Vito Acconci (1973)
2. Bas Jan Ader - Selected Works (1970-71)
3. Pipilotti Rist - Video Works (1986-2003)
4. Chris Burden - Documentation of Selected Works 1971-74
5. Johan Grimonprez - Dial H-I-S-T-O-R-Y (1997)
6. The Films of Jack Goldstein (1974-1978)
7. Gordon Matta-Clark - Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)
8. Lawrence Weiner - WATER IN MILK EXISTS (2008)
9. Psychic TV - “Unclean”
10. Robert Smithson - Bootleg of Hotel Palenque by Alex Hubbard (1969 / 2004)

Neville Wakefield is a writer and curator living in NYC. Recent film projects include ‘destricted‘ a compilation of commissioned films by Marina Abramovic, Matthew Barney, Marco Brambilla, Larry Clark, Gaspar Noe, Richard Prince and Sam Taylor Wood. Senior curatorial advisor to PS1 and curator of Frieze he is also creative director of ‘tar’ magazine.

—–

October 2008
Selected by Gary Sullivan

1. Jaap Blonk’s sound files
2. Dada Magazine
3. Drew Gardner’s sound files
4. Kenneth Goldsmith, editor, “Publishing the Unpublishable” series
5. George Kuchar’s films (especially “Corruption of the Damned”)
6. Anders Lundgerg, Jonas Magnusson and Jesper Olsson, editors, “After Language Poetry” papers
7. Paper Rad’s “P-Unit Mixtape”
8. Bern Porter’s page
9. Jerome Rothenberg’s Ethnopoetics : Soundings page (especially “Ca Dao, Vietnamese Folk Poems”)
10. Survival Research Laboratories, “Virtues of Negative Fascination”

Poet and cartoonist Gary Sullivan lives in Brooklyn with Nada Gordon. Together, they wrote the book Swoon. Gary’s most recent book is PPL in a Depot. He has published three issues of a comic book, Elsewhere, and maintains a blog by the same name at http://garysullivan.blogspot.com.

—–
September 2008
Selected by Rick Moody

1. Komar and Melamid & Dave Soldier, “The Most Unwanted Song”
2. Jacques Derrida, “On Religion” Part 1, Part 2
3. Assorted Street Posters
4. William Carlos Williams, “Danse Russe.”
5. Beth B., “Stigmata”
6. James Joyce, “Anna Livia Plurabelle”
7. Tellus #14, “Just Intonation”
8. Hugo Ball, “Karawane,” performed by Marie Osmond
9. Gregory Whitehead, “We All Scream Alone”
10. John Cage Meets Sun Ra

Rick Moody is the author of four novels, three collections of stories, and a memoir, THE BLACK VEIL. He also plays music with The Wingdale Community Singers.

—–
August 2008
Selected by Ben Rubin

1. Erik Saite - A Day in the Life of a Musician
2. Richard Leacock - For an Uncontrolled Cinema
3. William S. Burroughs - The Cut-Up Method of Brion Gysin
4. Claude Cloksy - The first thousand numbers classified in alphabetical order
5. Robert Smithson - A Heap of Language
6. Vito Acconci - RE
7. Marshall McLuhan - The Medium is the Massage, Side A , Side B
8. Raphael Rubinstein - A Brief History of Appropriative Writing
9. Marjorie Perloff - The Music of Verbal Space
10. Steve Reich - Pendulum Music (score)

Ben Rubin is a media artist based in New York City. He has been a frequent collaborator with artists and performers including Laurie Anderson, Diller+Scofidio, Ann Hamilton, Arto Lindsay, Steve Reich, and Beryl Korot.

—–
July 2008
Selected by Zach Feuer

1. Paul McCarthy - Painter (1995)
2. Pipilotti Rist - Video Works (1986-1999)
3. Richard Kern - My Nightmare (1993)
4. Bas Jan Ader - Fall I & II (1970)
5. Lynda Benglis - Female Sensibility (1974)
6. Sophie Calle & Greg Shepard - No Sex Last Night aka Double-Blind (1992)
7. Kembra Pfahler - Cornella; The Story of a Burning Bush (1985)
8. Robert Morris & Stan VanDerBeek - Site (excerpt) (1964, .mov)
9. Carolee Schneeman - Meat Joy (1964)
10. Dan Graham - Rock My Religion (1982-84)

Zach Feuer owns the creatively named Zach Feuer Gallery in New York City.

—–
June 2008
Selected by Ron Silliman

1. Frank Film (1973), Frank and Caroline Mouris
2. The Name (1973), Robert Creeley
3. Recollections of Grande Apachería (1973), Edward Dorn
4. Reading at Goddard College (1973), Robert Creeley
5. Carnival The First Panel: 1967-1970 (1973), Steve McCaffery
6. Black Tarantula Crossword Gathas (excerpt) (1973), Jackson Mac Low
7. A Vocabulary for Sharon Belle Matlin (1973), Jackson Mac Low
8. Heavy Aspirations (1973), Charles Amirkhanian
9. Armand Schwerner (1973), Phil Niblock (real video .rm file)
10. High Kukus (1973), James Broughton

Ron Silliman was once a slow left-handed second baseman. Now he lives in a faux forest in what was once the Biddle Estate.

—–
May 2008
Selected by Christian Bök

1. Claude Closky: “The First Thousand Numbers Classified in Alphabetical Order” (1989) [PDF]
2. Derek Beaulieu: “Flatland” (2007) [PDF]
3. Darren Wershler-Henry: “The Tapeworm Foundry” (2002)
4. Claude Simon: “Properties of Several Geometric and Non-Geometric Figures” (1971)
5. F. T. Marinetti: “Dune, Parole in Libertà” (1914)
6. Survival Research Laboratories: “Virtues of Negative Fascination” (1985-86)
7. Seth Price: “Video Game Soundtracks 1983-1987″ (2001)
8. Trek Bloopers
9. Anton Bruhin: “Rotomotor” (1976-77)
10. RACTER: “The Policeman’s Beard Is Half-Constructed” (1984)

BONUS TRACK:
IBM 7090: “Music from Mathematics” (1962)

Christian Bök is the author of Eunoia.

—–
April 2008
Selected by Laura Beiles

1. Anita Feldman and Michael Kowalski, Riffle (1985)
2. MoMA: Writing in Time (2007)
3. Piotr Kamler, Films (1960s-90s)
4. Fortunato Depero, Verbalizzazione astratta di signora (1916)
5. Penelope Umbrico, All the Dishes on Ebay (2002-03)
6. Catherine Jauniaux & Ikue Mori, ‘Smell’ (1992)
7. Abbie Hoffman Makes Gefilte Fish (1973)
8. Mary Lou Green on Andy Warhol’s Hair (1963)
9. Sophie Calle and Gregory Shephard, Double Blind (1992)
10. Cioni Carpi, Three Short Films (1960-62)

Laura Beiles is an associate educator in the Department of Education (Adult and Academic Programs) at The Museum of Modern Art, where she has organized programs with artists, poets, scholars, architects, and designers for seven years. In May of 2007, she received her MA in Art History from Hunter College, and received the Shuster Award for her thesis, “Creating National and International Identities: The Futurist Exhibitions at the Venice Biennale under Fascism, 1928-1942″. Prior to coming to MoMA, she worked at NYU’s La Pietra in Florence and the Peggy Guggenheim Collection in Venice.

—–
March 2008
Selected by Seth Price

1. Tessa Hughes-Freeland “Baby Doll” (1982)
2. Marie Menken “Glimpse of the Garden” (1957)
3. Robert Barry “Interview (1969)”
4. Ethyl Eichelberger “Jocasta (Boy Crazy) or “She Married Her Son” (1986)
5. Lytle Shaw “Low-Level Bureaucratic Structures: Principles of the Emeryville Shellmound
6. Taj Mahal Travellers “Taj Mahal Travellers on Tour” (1973)
7. Asger Jorn “Pataphysics: A Religion in the Making”
8. Racter “The Policeman’s Beard Is Half-Constructed” (1984)
9. Tristan Tzara “A Note on Negro Poetry” (1918)
10. I.B.M. 7090 “Music From Mathematics” (1962)

Seth Price is an artist.

—–
March 2008
Selected by Stephanie Strickland

1. Maya Deren, “Divine Horsemen”
2. “Concrete!” Ruth and Marvin Sackner Archive
3. Jason Nelson, “Poetry Cube”
4. b. p. Nichol, “White Text Sure”
5. Yoko Ono, “Snow Is Falling All the Time”
6. Dick Higgins, “Horizons” [PDF
7. Ketjak: the Ramayana Monkey Chant
8. “Concrete Poetry: A World View” Mary Ellen Solt
9. Raphael Rubinstein, “Gathered, not Made: A Brief History of Appropriative Writing”
10. Kenneth Goldsmith and Conceptual Poetics

Bonus
11. Glossolalia: Speaking in Tongues
12. Caroline Bergvall, “About Face”

Stephanie Strickland is a poet. Her latest collaborative hypermedia work is slippingglimpse first shown at e-Poetry 2007 in Paris and published in hyperrhiz: new media cultures. Her latest book, Zone : Zero (with digital poetry CD) will appear from Ahsahta Press in fall 2008. She recently published “Quantum Poetics: Six Thoughts, in Media Poetry: An International Anthology,” edited by Eduardo Kac, co-edited The Iowa Review Web issue, Multi-Modal Coding: Jason Nelson, Donna Leishman, and Electronic Writing, and also co-edited the first Electronic Literature Collection, published by the Electronic Literature Organization.

—–
February 2008
Selected by Alan Licht

1. Derek Bailey Interview by Henry Kaiser
2. Richard Foreman MP3 loops from Now That Communism Is Dead My Life Feels Empty
3. Bruce Nauman “Record”
4. bpNichol — all sound works
5. Cornelius Cardew “Stockhausen Serves Imperialism”
6. Philip Guston/Clark Coolidge “Poor Richard”
7. Lou Reed “the View from the Bandstand”
8. Jack Smith “Buzzards Over Baghdad”
9. Richard Meltzer “Barbara Mauritz: Music Box”
10. Adrian Piper “Untitled 1968″

Over the past two decades, guitarist Alan Licht has worked with a veritable who’s who of the experimental world. He has released five albums of compositions for tape and solo guitar, and his sound and video installations have been exhibited in the U.S. and Europe. His new book Sound Art: Beyond Music, Between Media, the first extensive survey of the genre in English, was published by Rizzoli in fall 2007.

—–
February 2008
Selected by Bettina Funcke

1. Harun Farocki, Inextinguishable Fire (1969) and How to Live in the German Federal Republic (1986) - Note! Films Removed by copyright holder’s request
2. UbuWeb Hall of Shame
3. Robert Frank, Energy and How to Get It (1981)
4. J. G. Ballard, Shanghai Jim (1991)
5. Pandid Pran Nath Ragas of Morning and Night (1968)
6. Hrabanus Marus De adoratione crucis ab opifice / De Laudibus Sanctae Crucis Augsburg (ca. 845)
7. Jacques Lacan, Télévision (1973)
8. Joan Jonas “The Anchor Stone” (1988)
9. Inuit Throat Singing, from Ethnopoetics
10. Assorted Street Posters (1985-present) from Outsiders

Bettina Funcke is the Senior U.S. Editor of Parkett Magazine.

—–
January 2008
Selected by Alex Ross

1. Robert Ashley “She Was a Visitor”
2. Kurt Schwitters “Sonata in Urlauten”
3. John Cale “Loop”
4. The Films of Mauricio Kagel
5. Charles Amirkhanian “Dog of Stravinsky”
6. Bernd Alois Zimmermann “Musique pour le soupers de Roi Ubu”
7. Pauline Oliveros “Sound Patterns”
8. Ezra Pound “Sestina: Altaforte”
9. John Cage “4′33″”
10. Robert Ashley “The Wolfman”

Alex Ross has been the music critic of The New Yorker since 1996. His work has also appeared in The New Republic, The London Review of Books, Lingua Franca, and The Guardian. From 1992 to 1996 he was a critic at The New York Times. He has received two ASCAP-Deems Taylor Awards for music criticism, fellowships from the American Academy in Berlin and the Banff Centre, and a Letter of Distinction from the American Music Center for contributions to the field of contemporary music. He played keyboards in the noise band Miss Teen Schnauzer, which gave only one public performance, in 1991. His first book, “The Rest Is Noise: Listening to the Twentieth Century,” a cultural history of music since 1900, was published in October 2007 by Farrar, Straus & Giroux.

Share This

+++

The Philosopher’s Stone will be available (via bit torrent) for full download FREE Oct 31st 2008 at GREYLODGE.ORG, subliminalfilms.org, and streaming at:

www.philosophersstone.org

for more information please contact:

stone@subliminalfilms.org

or visit

greylodge.org
subliminalfilms.org
raymondharmon.com
philosophersstone.org

+++

A letter from the director;

In choosing to distribute this film I have decided to skip the theatrical presentation stage and go directly to sourcing the film via the bit torrent network. By giving the public full access to this film I hope to encourage other filmmakers to realize the potential of their audience by abandoning the outdated model of cinematic distribution in favor of an open relationship with the viewers themselves.

After years of struggle with the format of distribution cinema has found an ever evolving platform of distribution on the internet. Years of so called  ‘format wars’, first between film gauges and then between dv formats, have ended in the wake of widening broadband access for the average person.

The ability for anyone to simple download and watch a film already exists, as does the ability for anyone to make a film and allow the world to experience it directly. The filmmaker has a wide range of encoding practices available that allow them to maximize video quality for each project’s distribution on the web. As further technologies and better codecs are develop the filmmaker will be able to expand on the available sources for the cinematic presentation.

As much as the Philosopher’s Stone visually represents a historic period in early 20th century cinema it looks forward to a future unfettered by lack of distribution and a platform for broadcast that gives everyone a chance to experience cinema to its fullest.

This film is meant as a mirror, reflecting what has been onto what will become.

Obviam lux Lucis

Raymond Salvatore Harmon
October 3rd - 2008

Additions 11-06-08: More file formats available here - http://greylodge.org/gpc/?p=1583
Download a PDF of the PR

Download Torrent of the movie: The Philosopher’s Stone (new torrent added 11-03-08)

Download the special GSpot interview with  Raymond Salvatore Harmon below:

Share This

Tracey’s journey leads us into the dark underbelly of the city, into the emotional cesspool of her home, through the brutality of her high school, the clinical cat and mouse games with her shrink and her soaring fantasies of Billy Zero - her boyfriend and Rock ‘n’ Roll saviour. Her travels also put her in contact with the seedier inhabitants of the city. Like Lance, her would-be saviour who ultimately puts her life in jeopardy

Tracey’s stories begin to intertwine truth with lies, and hope with despair as we move closer to the truth of Sonny’s disappearance

The Tracey Fragments stars Ellen Page in the title role and will have a limited theatrical release in the United States May 9th, 2008.

Download Torrent

Share This

It is Francis Ford Coppola’s first directed film since 1997’s The Rainmaker. It was distributed through Sony Pictures Classics in the United States and Pathé in the UK and France.

Walter Murch told the San Francisco Chronicle in May 2007: “Even though it’s not something he wrote, it’s based on a book Francis loves very much. I think people will be very surprised when they see it.”^{[cite this quote]}

The film was shot with a Sony HDC-F900 in High Definition and edited on Final Cut Pro 5.^{[citation needed]}

The movie has been screened in front of friends and fellow directors after the 79th Academy Awards Ceremony (in which he was a presenter).^{[citation needed]}

Coppola has gone on record as saying that the movie is very personal, and not a standard Hollywood film.^{[cite this quote]} Originally the movie was to be distributed by United Artists.^{[citation needed]} Sony Pictures Classics distributed the film when it opened in limited release in the United States on December 14, 2007.

It was also announced that a trailer for the film will be on the Collector’s Edition DVD of Bram Stoker’s Dracula, another film by Coppola, which was released in early October 2007.

The September issue of Zoetrope: All-Story was construed as a special tribute to Youth Without Youth. The first half, edited by Tim Roth, contains photographs by Roth and short stories that address themes relevant to the story. The second half consists of interviews with the cast and crew, inserts penned by Coppola about the film making process, and the complete text of Eliade’s novella. More at Wikipedia
Download Torrent

Share This

PilotLite

Share This

BILL MOYERS:

LINK

Share This

Download (.torrent)
Format: AVI | Size: 697mb

Six years ago the award-winning journalist Jon Ronson began filming what has turned into a most extraordinary and thought-provoking documentary.

The Reverend George Exoo is a seemingly jolly, but not very successful Unitarian minister from Beckley, West Virginia who has drifted into helping non-terminally ill people commit suicide. George claims that so far he has helped more than 100 people commit suicide. George extols the afterlife and explains how he looks forward to his own death because it will be a great adventure.

At the start of filming, Jon Ronson believed that everyone has the right to terminate their own lives. However, as the film progresses, Jon begins to change his mind and also starts to have serious reservations about what Rev. George Exoo does and about the motives of his new assistant Susan, who claims she’ll help practically anyone kill themselves if the price is right: ‘For George it’s a calling,’ she says. ‘For me it’s a business.’ At the same time, George is facing extradition proceedings for his part in a suicide in Ireland.

If you think your calling from God is to help people die, are you a saint or something more dangerous? (–Channel 4)

See also ‘I make it look like they died in their sleep’

Share This

Share This

One can see the influence of Bulgakov’s writing in the magical realism of Salman Rushdie and the magic(k)al surrealism of Giger.

From http://www.masterandmargarita.eu:

The punitive expedition of the devil throughout Moscow, Margarita’s search for her lover and excerpts from the Master’s novel about Pontius Pilate are the most important materials for The Master and Margarita. The book is not only a funny and sometimes caustic criticism on the soviet society between 1920 and 1940 but also a touching love story… And the devil, after all, does not at all appear a bad chap. The book shows the large creative phantasy of Bulgakov. His work is part of a Russian tradition of satire that started with Gogol and continued with authors as Zostchenko, Ilf and Petrov.. 

…

The Master and Margarita is a satire. In order to understand it completely one should know its context. Bulgakov, born in 1891, was youngster and adolescent in the last years of the regime of czar Nicolas II. During the civil war following the revolution he took the Whites’ side.

When Stalin came to power he had a very difficult time. His stories, novels and plays were very popular among the public, but unanimously abused by the state critics and banned by the authorities. Though Stalin said that he loved Bulgakov’s plays, he was prohibited to publish them.

From Wikipedia:

The novel alternates between three settings. The first is 1930s Moscow, which is visited by Satan in the guise of Woland or Voland (Воланд), a mysterious gentleman “magician” of uncertain origin, who arrives with a retinue that includes the grotesquely dressed “ex-choirmaster” valet Koroviev (Fagotto) (Фагот, the name means “bassoon” in Russian and some other languages), a mischievous, gun-happy, fast-talking black cat Behemoth (Бегемот, a subversive Puss in Boots, the name referring at once to the Biblical monster and the Russian word for Hippopotamus), the fanged hitman Azazello (Азазелло, hinting of Azazel), the pale-faced Abadonna (Абадонна, a reference to Abbadon) with a death-inflicting stare, and the witch Hella (Гелла). The havoc wreaked by this group targets the literary elite, along with its trade union, MASSOLIT (a Soviet-style abbreviation for “Moscow Society of Literature”, but possibly interpretable as “Literature for the Masses”; one translation of the book also mentions that this could be a play on words in Russian, which could be translated into English as something like “LOTTALIT”), its privileged HQ-cum-restaurant Griboyedov’s House, corrupt social-climbers and their women (wives and mistresses alike) – bureaucrats and profiteers – and, more generally, skeptical unbelievers in the human spirit. 

http://en.wikipedia.org/wiki/Mikhail_Bulgakov

http://www.masterimargarita.eu/

Original Russian txt | English txt

Download torrent (4.12gb avi)

Share This

Bad Boy Bubby

Download (.torrent)
Format: avi | Size: 1.4GB

Bad Boy Bubby was conceived as an experiment on virtually every level. Rolf de Heer worked on the script over a period of ten years, pushing it further into extremes with each redraft. He shot it in sequence, and with 32 different cinematographers – one for each new location – and recorded it in binaural sound, using radio microphones taped to the side of the head of Nicholas Hope, the actor playing Bubby. The film was going to be shot on weekends for $400,000, using out-of-date film stock, until an Italian producer, Domenico Procacci, read the script. He contributed the $400,000 but insisted the film be shot on good stock. It was eventually shot over nine weeks for a total budget of around $800,000. The film was shown in competition in Venice, where it won five prizes. ‘It tore the place apart’, Rolf de Heer said later.

He conceived the film as a parable about child abuse, but the material was too dark to use a child actor, so Bubby became an adult man who has been mistreated for 35 years. Bubby is an innocent. Even though he actually kills four people in the film, he is incapable of understanding his crimes. The first third of the film, inside the dungeon where he is raised, establishes a crucial reality. When Bubby eventually leaves there, we believe in his sensory deprivation, and that everything he experiences is new. We also know that he’s smarter than he looks. The film creates a lot of enjoyably vulgar comedy out of his interactions with the world around him. It’s not stated that this is Adelaide, but de Heer presents a view of his adopted home city that’s so harsh it’s funny.

De Heer was born in Holland and came to Australia at the age of eight, in 1959. Bubby’s first impressions of the city could have something to do with that experience of a child in a new country, although de Heer has always stressed that Bubby ‘is in no way anything to do with me … I have two parents who are terrific and I am doubly indebted to them for bringing me up mentally healthy – although some people have their doubts when they look at this film’.

Alongside the film’s low comedy, there is always a set of much larger questions, to do with existence and religion. Bubby has been raised with a terrible fear of God’s power and cruelty. Out in the wider world, he gets plenty of evidence of mankind’s cruelty, and the lack of piety of some in the church. In a church, he is drawn to the sound of the organ, which is being played by Norman Kaye, as a character known in the credits as The Scientist. This man is one of the few who show him kindness, but he also insists that there is no God, and that it’s Bubby’s duty to insult him. On the other hand, Bubby falls in love with Angel, who is a believer, and a good advertisement for Christian kindness (although she and Bubby have much in common in upbringing – her parents are religious maniacs who persecute her horribly).

The film’s most controversial aspect was not its depiction of cruelty towards a human, but the depiction of cruelty towards the cat. When the film was released in Italy, a coalition of animal rights groups tried to set up a boycott of Australian products, alleging that the cat was tortured and smothered in the film. Rolf de Heer has said that none of that is true; the cat scenes were carefully filmed, with a veterinarian and animal cruelty inspector on set. Nicholas Hope, in an on-stage interview included on the dvd of the film, says there were two cats, one of which became a pet of a crew member. The other was a feral cat that was put down by a vet after filming (as with most feral cats that are caught in Australia).

–Paul Byrnes, curator australianscreen

Share This

Stanley Kubrick’s Boxes
Jon Ronson (2008)

A biography of a remarkably talented man as seen though the rich collection of material he left behind.

Stanley Kubrick’s films were landmark events – majestic, memorable and richly researched. But, as the years went by, the time between films grew longer and longer, and less and less was seen of the director. What on earth was he doing?

Two years after Kubrick’s death, Jon Ronson was invited to the director’s estate to explore the hundreds of boxes the legendary film director had collected during his decades at Childwick Manor in Hertfordshire. He’s been returning ever since, and the story of Kubrick and the archive, now housed at University of the Arts London, is revealed in this fascinating documentary.

Ronson asks: is it possible to get to understand such a man – and his extraordinary working methods – by looking through the hundreds of boxes he left behind? (Intro by More4 Documentaries)

See also Jon Ronson’s article Citizen Kubrick

Download (.torrent)
Format: avi | Size: 366MB
Source: heaver

Share This

The Hart of London
Jack Chambers (1970)

This rarely screened 1970 film by Jack Chambers is one of the cinema’s strangest masterpieces, mixing poetic and documentary footage to ponder the clash between nature and civilization. With its raw nervous energy, its juxtaposition of color with black and white, and its peculiar array of imagery (the birth of a baby, the slaughter of sheep, the filmmaker mowing his lawn, a field being plowed, dense superimpositions of images that sometimes bleach to near white), The Hart of London recalls an earlier oddball masterpiece, Christopher Maclaine’s The End (1953). Chambers’s film begins with news footage that shows a hart prancing through backyards in London, Ontario, in 1954; its pursuers capture and kill it, and that disturbing scene echoes throughout. In the first half, poetic superimpositions of London create an odd mix of seduction and rebuff, and in the second, Chambers mixes his own footage with news cinematography, suggesting that we’ve reduced both ourselves and nature to images not unlike store-window displays. Chambers, who was diagnosed with leukemia the same year he began the project, once said that the film was about “generation,” and the cycles of life and death are ever present. (Capsule by Fred Camper)

Download (.torrent)
Format: AVI | Size: 862MB
Source: Lucky Luciano

Download DVDR (4GB)

Download or Stream from UbuWeb

RESOURCES
Senses of Cinema: Jack Chambers
Jack Chambers’ The Hart of London
The Hart of London, a film by Jack Chambers by Fred Camper
The Films of Jack Chambers

Share This

The documentary borrows its title from The Jack Chambers Film Project a conference held at Museum London (London, Ontario), March 9-10, 2002. The conference included screenings of films by and about Chambers, panel discussions and a lecture by Stan Brakhage on The Hart of London.

Using archival home videos, old news reels and clips from Chambers’ films, along side video from the proceedings of the conference, Chris Doty explores the legacy of his fellow Londoner.

“Jack Chambers is one of Canada’s most famous and greatest living painters. Why then have his films been as neglected as they have been? I feel that it is because his films do not arise as an adjunct to his painting (as is true in the case of most other painter film-makers) but that, rather, Jack Chambers has realized the almost opposed aesthetics of paint and film and has created a body of moving pictures so crucially unique as to fright paint buffery: thus his films have inherited a social position kin to that of the films of Joseph Cornell in this country. The fact is that four films of Jack Chambers have changed the whole history of film, despite their neglect, in a way that isn’t possible within the field of painting. There are no ‘masters’ of film in any significant sense whatsoever. There are only ‘makers’ of film in the original, or at least medieval, sense of the word. Jack Chambers is a true ‘maker’ of films. He needs no stance, or standing, for he dances attendance upon the coming-into-being of something recognizably new: (and as all is new, always, one must question the veracity of all works, whatever medium, which beseem everything but that truth).” —-Stan Brakhage

Download (.torrent)
Format: AVI | Size 707MB

Note! Included in the torrent is the documentary and short excerpts from Chambers’ film works from 1964 to 1970: “Mosaic”, “Hybrid”, “R43″, “Circle”, and “The Hart of London”.

Share This

http://www.ifc.com/video/Web-Series/Mary-Van-Note/

Share This

Share This

Youth Without Youth

It is Francis Ford Coppola’s first directed film since 1997’s The Rainmaker. It will be distributed through Sony Pictures Classics in the United States and Pathé in the UK and France.

Walter Murch told the San Francisco Chronicle in May 2007: “Even though it’s not something he wrote, it’s based on a book Francis loves very much. I think people will be very surprised when they see it.”

Coppola has gone on record as saying that the movie is very personal, and not a standard Hollywood film. Originally the movie was to be distributed by United Artists. Sony Pictures Classics distributed the film when it opened in limited release in the United States on December 14, 2007.

The September issue of Zoetrope: All-Story was construed as a special tribute to Youth Without Youth. The first half, edited by Tim Roth, contains photographs by Roth and short stories that address themes relevant to the story. The second half consists of interviews with the cast and crew, inserts penned by Coppola about the film making process, and the complete text of Eliade’s novella.

Subtitles for some of the ancient languages

Torrent

Share This

The film was almost impossible to see for years, known only by reputation until a small but revelatory revival in the ’90s. It finally comes to DVD in a handsome edition by Criterion, which also features the 60-minute documentary “Requiem for a Killer: The Making of Blast of Silence,” shot largely in 1991 by director Wilfried Reichart (after the film’s revival at the Berlin Film Festival) and expanded by Robert Fischer in 2007. Baron is a good host, sharing stories and observations as he walks through the locations (circa 1991) and talks about the film and his career, and he bookends the production with new interviews from his home in 2006. Also features galleries of stills comparing the film’s locations then and now and dozens of Polaroids (most of them scuffed and faded with time) shot on the set of the production, a booklet with a new essay by film critic Terrence Rafferty, and a four-page graphic-novel adaptation of the film by artist Sean Phillips (who also drew the DVD cover art).

Other reviews

IMDB

Scene Releases- NFO, Samples, Trailer
Torrent

(The quality of he above torrent has been reported as less than opitmal. We are securing a better RIP for a later release)

Share This

• Esoteric Agenda 
• The art of Ron Mueck
• The Pharmacratic Inquisition documentary free on Google Video
• MUTO a wall-painted animation by BLU 

Share This

This film records an in-depth interview with Duchamp which took place five years before his death, at the time of his first ever one-man show (at the Pasadena Art Museum). It records for posterity Duchamp talking about his life, his ideas on art, why he chose to continue living in America after fleeing France in 1915, and why he virtually abandoned his work as an artist in 1923. An engaging dialogue takes place between Duchamp and film-maker Jean-Marie Drot as they go around the Pasadena show, with the artist commenting on the exhibits and using them to explain the various stages of the development of his work. This is punctuated by the games of chess, which were for Duchamp a passion and a metaphor for the mental discipline he applied to his art. In this film we gain a rare glimpse of him talking with humour and insight about his ideas, and living up to the myth of the artist-philosopher that has grown up around him.

Jeu d’échecs avec Marcel Duchamp was filmed late 1963 in Pasadena and New York for the Radio Télévision Française (RTF); first broadcast on 8 June 1964 and then shown at the International Festival of Artistic Films and Films of Art (Bergamo, 19 September 1964). A videocassette was issued by Public Media, Chicago 1987 (Marcel Duchamp. A Game of Chess) and by Phaidon (2007). The English version was presented in a television broadcast in September 1964 in the ‘Art and Man’ Series.

Download (.torrent)
Format: avi (XviD ISO MPEG-4, AC3)
Size: 864MB
Language: French (embedded English subtitles)
Source: VHSrip by Grosby
Note: For the first minute-and-a-half a tracking line quickly runs over the picture producing a ‘zzt’ sound. The rest of the video plays fine, with no fuzz.

Photograph of Marcel Duchamp and Eve Babitz posing for the photographer Julian Wasser during the Duchamp retrospective at the Pasadena Museum of Art, 1963 © 2000 Succession Marcel Duchamp, ARS, N.Y./ADAGP, Paris.

“The goal of chess is to mate. We can thus see this picture as the record of a tableau vivant of a word play. Since Freud, vulgar theorists have held that chess and art, to pick two examples, are sublimations of sex. Given Duchamp’s attitude towards wordplay versus theory, it is better to see his life long interest in chess and eroticism as a sublimation of this picture’s wordplay! Given that the double meaning of “mate” does not exist in French, at last we have a satisfactory explanation of why Duchamp had to emigrate to America. In other words: in the beginning was the word; in the center the pun.” From: A Pun Among Friends by Steven B. Gerrard

RESOURCES
Tout-Fait: Marcel Duchamp Studies Online Journal
BBC UK Interview with Marcel Duchamp, June 5, 1968
Re-evaluating the Art & Chess of Marcel Duchamp
UbuWeb Sound: Marcel Duchamp
UbuWeb Film: Marcel Duchamp
Interview with Eve Babitz
The Chess Games of Marcel Duchamp
Duchamp’s Chess Paintings (click Suivant for more paintings)

Share This

Share This

California is at the epicenter of a political and environmental disaster that threatens to destroy the world in this ambitious fusion of comedy, drama, dystopia science fiction, and music. In the year 2005, a nuclear attack wipes out part of the state of Texas, and three years later America is a virtual police state, with the government taking control of nearly every part of people’s lives, supposedly for their own good. A German firm has found a way to generate energy using seawater, but both public and private concerns are desperate to prevent the new technology from being introduced in the gasoline-starved United States. A Marxist underground based on the West Coast is determined to bring down the federal government through violent revolution. In this midst of this chaos, we follow a number of stories that continually return to three principle characters. Boxer Santaros is an actor famous for his role in action films; he’s trying to secure financing for a new project, but reality keeps mirroring the events in his script and he struggles to hold on to his identity following a bout with amnesia. Krysta Now is a porn star who is reinventing herself as a television pundit offering her views on politics, contemporary culture, and teenage sex. And Roland Taverner is an L.A. police officer whose identity has mysteriously split in two and he struggles to track down his other half. Written by The GuyInThePj’s

Torrents:
Southland Tales (Film)

Southland Tales (Graphic Novels)
Comic book readers

Windows readers:
CDisplay
CDisplayX

Mac:
Xee
Comical

Linux:
QComicBook
Comix

Share This

or

Watch as steaming video (English)

I love God, but just wanna be sick about organized religion after seeing this.

And never forget, Jesus was put to death specifically for challenging organized religion.

————–
“This BBC documentary explores the idea that Pope Benedict XVI, also known as Cardinal Ratzinger, may have played a leading role in a systematic cover-up of child sex abuse by Roman Catholic priests.

“In 2001, while he was a cardinal, he allegedly issued a secret Vatican edict to Catholic bishops worldwide. The document recommended that rather than reporting sexual abuse to the relevant legal authorities, bishops should encourage the victim, the witnesses and the perpetrator not to talk about the abuse. Was this done to help the victims and minimize future abuses or was it done in the self interest of those responsible for these grievous sins.”

Share This

Contents

Videos

Gloria!
Nostalgia
Zorns Lemma
Screening Room with Hollis Frampton

Texts

- Hollis Frampton - Circles of Confusion
- Scott Macdonald – Screen Writings: Scripts and Texts by Independent Filmmakers (3 scripts by Frampton: Zorns Lemma; Poetic Justice; Gloria!)
- A Letter from Hollis Frampton to Donald Richi
- October Vol. 32, Hollis Frampton: A Special Issue (1985)

Resources

Direct Download and streaming of Zorns Lemma, Gloria! and Nostalgia

Mark Segal “Hollis Frampton/”Zorns Lemma” (1971)

http://hollisframpton.org.uk/

Hollis Frampton Links

Download Torrent

Share This

From Wikipedia:

The Great Train Robbery is a 1903 western film by Edwin S. Porter. The film is only twelve minutes long, but is a milestone in film making, expanding on Porter’s previous work Life of an American Fireman. The film used a number of innovative techniques including cross cutting, double exposure composite editing, camera movement and on location shooting. Cross-cuts were a new, sophisticated editing technique. Some prints were also hand colored in certain scenes. None of the techniques were original to The Great Train Robbery, and it is now considered that it was heavily influenced by Frank Mottershaw’s earlier British film A Daring Daylight Burglary.[1] The film uses simple editing techniques (each scene is a single shot) and the story is mostly linear (with only a few “meanwhile” moments), but it represents a significant step in movie making, being one of the first “narrative” movies of significant length. It was quite successful in theaters and was imitated many times.

The movie was directed and photographed by Edwin S. Porter.

GET TORRENT

Share This

Filmed when the author was 81, “Henry Miller Asleep & Awake” is a voyage of ideas about life, writing, sex, spirituality, nightmares, and New York that captures the warmth, vigor and high animal spirits of a singular American artist. The man is Henry Miller and the room is his bathroom. It’s a miraculous shrine covered with photos and drawings collected by the author over the course of his long and fruitful life. Graciously, in his raspy, sonorous voice, he points out the highlights of his improvised gallery, speaking of philosophers, writers, painters,mad kings, women, and friends.

Download Torrent

Share This

The Divine comedy

Waters first began by making short movies when his father bought him an 8mm camera. It seems that even as a child, Waters was entertained by disturbing images. His mother used to have to bring him to scrapyard so that he could see cars wrecked in accidents. Another interviewee commented that Waters loved puppetshows only because of the way the puppets battered each other ! His move to featurelength ‘proper’ movies coincided with his creation of his film company called Dreamland Productions. In reality, it was like a theatre group, with regular characters such as Divine, Mink Stole, Edith Massey, Cookie Meuller, David Lochary and Steve Buscemi. Most of the group were friend or neighbours of Waters - why so many offbeat characters should live in one part of Baltimore is not explored.

What these people did share was an absolute willingness to bring Waters’ ideas to life. And these were not normal ideas in Baltimore in 1971. One of the unluckiest people featured in the documentary is Mary Ovara, the Maryland state censor, to whom Waters submitted his movies. One suspects he did it just to shock her, and he was 100% successful in that regard. Asked to recall particular scenes which incurred her displeasure, Mary (now an old woman) almost breaks down in tears , such was her disgust. She can hardly speak to describe one particular scene, from Multiple Maniacs, where Divine is being raped by having rosary beads stuffed up her bottom, while having a vision of Christ’s crucifixion. Exactly.

As you would glean from the documentary’s title, Divine (a.k.a. Harris Glenn Milstead) features largely (as only a gaudily made-up, 300 pound transvestite can) in both Waters’ work and this feature. Completely over-the-top in every movie, it’s hard to imagine Waters movies without him. Divine died at age 42 in 1989, so our only impression of him is from the movie clips. Unlike Waters, who has moved into the mainstream and middle age with ease, it’s not easy to imagine Divine as a fifty-year-old reminiscing about the past.

The most touching part of the documentary is the interview with Divine’s mother, who clearly loved her son, but was totally bewildered by his persona (and probably his friends). Waters’ parents are endearingly level-headed, with a wry view of their son’s oeuvre. This is probably because they have never seen any of his movies. Waters himself comes across as a witty charming guy, gleefully recalling how his early movies shocked and stirred an unsuspecting Baltimore community.

The documentary is at its weakest while attempting to assess the impact and legacy of Waters’ work. Jim Jarmusch , Buscemi and others, while rightly pointing out that Waters work was completely different from anything, are less convincing in persuading us that his legacy is worth very much. True, Waters satirised the middle-class normality from whence he came, but Waters didn’t invent satire, and the schlock-horror dramatics and low budget production values pretty much obscured any message contained in the movies. And the movie avoids his later work, which, though entertaining in varying degrees (Hairspray, Cry-Baby, Serial Mom, etc.), really haven’t made much of an impression on audiences. But I suspect that the real subversive nature of his movies was the fear of middle-class parents that their kids would watch his movies in the first place.

Asked whether Waters’ movies were pornographic, one contributor replies that the test of whether [Pink Flamingos] was pornography, you should be able to masturbate to it, and concludes that you would have to be very sick indeed to masturbate to that movie. Yes, indeed you would. Pink Flamingos is the tale of two families competing for the title of ‘filthiest’ family alive. The plot is bizarre but culminates with Divine eating dog excrement. Real dog excrement. Those of you with a nervous disposition can rest assured - the actual scene is not shown. However, the out-takes show how Waters and Divine planned the scene (Divine doesn’t bat an eyelid when Waters suggests the scene), and then waiting around for the mutt in question to perform (who had been given a hearty meal beforehand). The most unsettling part is the fact that the cast and crew are absolute unfazed by the scene.

This documentary takes a very benevolent and amusing view of Waters and his work , accepting without question or much analysis that his early work was important and had a big impact on later American cinema. However, there isn’t much analysis of any sort, actually; more a humorous account of a bunch of very weird people getting together and upsetting as many people as they could.(via)

Download Torrent- DivX avi- 926 mb.

Share This

If journalists were forced to observe the commandment that doctors swear to follow — first, do no harm — it’s not clear whether our profession would exist at all. Doctors do harm all the time, of course, because they are human beings who make mistakes and whose judgment and knowledge are imperfect. They may just be bad doctors. But even good journalists are likely to cause harm (albeit non-lethal harm, most of the time) to the people they cover, without a whisper of conscience and generally in service to high-minded abstractions like “the truth” or “the reader” or “the public’s right to know.”

As New Yorker reporter Janet Malcolm, the patron saint of journalistic self-flagellation, has put it, what those noble phrases really boil down to — and the impulse that journalism really serves — is “society’s fundamental and incorrigible nosiness.” In the most famous sentences of her career, and perhaps the most famous ever written about the craft, she declares: “Every journalist who is not too stupid or too full of himself to know what is going on knows that what he does is morally indefensible. He is a kind of confidence man, preying on people’s vanity, ignorance or loneliness, gaining their trust and betraying them without remorse.”

Amir Bar-Lev did not have any of these dark thoughts in his head when he went to Binghamton, N.Y., about three years ago to meet Mark and Laura Olmstead and their 4-year-old daughter, Marla. He didn’t know he would wind up making a movie, “My Kid Could Paint That,” whose “primary inspiration,” as he tells me over lunch, was Malcolm’s bitter and brilliant investigative work “The Journalist and the Murderer,” which begins with the sentences quoted above. He didn’t know he would find himself on the horns of a painful ethical dilemma, torn between treating his subjects humanely and seeking the truth. He didn’t know he was going to make an existentially tinged mystery story that would verge on self-regarding meta-documentary and that called attention to its own artifices and tricks, that would engage, as he says now, in “public hand-wringing” about its own morality. (Listen to a podcast of my interview with Bar-Lev here.)

Read the rest of this review on Salon

Download Torrent- XviD- 714 mb.

Share This

http://www.vimeo.com/603058

Share This

• “Portrait: The Making of Henry” Documentary
• “The Serial Killers: Henry Lee Lucas” Documentary
• Deleted Scenes and outtakes with commentary

All included in this torrent.

Download Torrent- DivX AVI- 956 mb.

If you haven’t seen the movie yet.

Share This

“Greetings, my friends. We are all interested in the future, for that is where you and I are going to spend the rest of our lives. And remember, my friends, future events such as these will affect you in the future.”

I’m willing to guess that almost anyone willing to refer to themselves as a movie-goer has undoubtedly heard that director Ed Wood’s Plan 9 From Outer Space is the “worst film ever made.” In fact, in an attempt to cash in on the ‘cult’ audience to Wood’s movies, the early 1990s saw a period where many of his films were redistributed with the tag, “Made by the world’s worst director”, or something similar. From this renewed fascination with his movies, Wood has been elevated to a level of posthumous success that was quite tragic, really, given his desperate quest to be respected during his life. In point of fact, Plan 9 is not the worst film ever made, and Ed Wood is far from being the world’s worst director. As a video store owner I knew once said, “I would rather watch Plan 9 than Forrest Gump.” So would I, but regardless, this makes the point that beauty is indeed in the eye of the beholder. For me, most of Wood’s movies are incredibly charming, entertaining and funny pieces that reflect the ambition of the man, as well as the mood of an era in which everyone was trying to make a buck on exploitation and alien-attack films. Yes, they’re horribly inept and arguably evidence of a complete lack of talent, but they simply cannot be ignored because without them, I dare say the evolution of B-movie history would have been much different and nowhere near as much fun.

“Ed Wood was a user and a loser.” - Bela Lugosi Jr.

In an attempt to put a human face on the story of Edward Wood and his quest for cinematic immortality, filmmaker Brett Thompson brings us The Haunted World of Edward D. Wood Jr., an effective, touching, and balanced tribute to the man considered a quiet genius by some and a terribly effective con-man by others. It features the participation of many of Wood’s friends and partners in filmmaking, as well as others personally connected to him. Amongst the more notable participants are Dolores Fuller, Wood’s longtime girlfriend and supporter, who went on to write songs for Elvis Presley and Nat King Cole; Vampira, the infamous late-night movie show host who eventually worked with Wood for the money; and Bela Lugosi Jr., son of the famous actor who personally feels that Ed Wood was responsible for bringing his father down to the bottom of his career. Through interview footage with his wonderfully unusual cast of friends and family (and a few clips from Wood’s own movies), the portrait of Ed Wood Jr. is made. Obviously, he was a man consumed by cinema, constantly struggling with alcoholism as well as being a very open transvestite. As his wartime buddies seem to concur, even as a Marine officer, Wood wore a bra and panties into the fiercest battles of World War II.

“Ed Wood was the Orson Welles of low-budget cinema” - Dolores Fuller

Through an amazing amount of family film footage, photo clips, and other rare material, Wood’s life is exposed in a very personal way, which seems quite genuine as there is absolutely no speculation or commentary from anyone who didn’t know him personally. The film also touches on some of the misunderstood aspects of Wood’s life; some of which were unfortunately exacerbated by Tim Burton’s 1994 film Ed Wood, which though skilled and very well made, did have distinct flaws. While some of the stories that these people relate are often sad, many are very funny, with probably the biggest laughs coming from the very honest and down-to-earth sentiments of actor Gregory Walcott who, to this day, still seems flabbergasted at the z-grade quality of Plan 9, in which he starred as the obligatory, lantern-jawed hero, Jeff Trent. Vampira offers her account of how she sincerely thought of Wood as a rather pathetic fellow, but was forced into being in Plan 9 by virtue of needing the work.

“To me Ed Wood was one of the most entertaining directors I’d ever seen, and I wouldn’t call him bad, because bad directors are boring and he’s never boring.” - anonymous Ed Wood fan

In the end, the only place this documentary stumbles is where it seems to stop covering his life. The film does well covering Wood’s early works (pre-Plan 9), but drops off afterwards and doesn’t chronicle his writing, production, and minor directorial work from then on. While it is true that his later years were plagued with immense alcoholic problems and films arguably more embarrassing than his earlier ones, this portion of his life is greatly compressed into only a few minutes with virtually no details at all. Admittedly, though, it is those early years and movies like Glen or Glenda, Jailbait, and Bride of The Monster that define the man. In the end, The Haunted World of Edward D. Wood Jr. provides the most informed and dignified portrayal of the man seen on screen. His legacy is truly unusual and perhaps that’s what keeps luring new fans to him. The mere fact that, to this day, people still discuss and debate Ed Wood’s merit—or lack of merit—is evidence of his living on through his work. I guess that’s the best any artist can hope to ask for. (via)

Download Torrent- DivX AVI- 1 gb.

Share This

Watch The Full Program On-Line 

Share This

Think of this technology as a form of video-wiki software that is integrated into the MediaWiki platform, allowing users to add collaborative video players that enable all users to add and edit images, sounds, diagrams, animations and movies in the same manner as they do today with text.

LINK 

Share This

VIDEO

See Wes’ review from previous post

Share This

Share This

Share This

BINGO On YouTube

Back in the 1980s, Chris Landreth, a postgraduate student in engineering, was faced with an employment dilemma–work for the American military because no one else could utilize his talents or find work in some unrelated field. Landreth created for himself a third option. He made his way up to Canada. That this country is a power base for comedy and animation hardly comes as a surprise: both stem from the nature of observation–one verbal, the other graphic. It was, therefore, inevitable that Landreth would find his way to Alias/Wavefront in Toronto, although there is a delicious reverse-flow irony to the idea of us taking one of the best of them. Nor is it surprising that within a year of arriving at Alias, he was working on the end, the seven-minute wonder that was nominated for an Oscar in the animated short film category. Then in June 1998, he delivered Bingo, which has again been lining the mantelpiece with awards.

Of the five pieces that Landreth has completed to date, the end and Bingo are his most notable. the end, also written by Landreth, is a tongue-eloquently-lodged-in-cheek satire on animation festival films. It focuses on an animator who becomes a participant in his own work as he and his drawn characters parry over what would be the best ending. “I do not exist for your animation,” one character tells the animator. Bingo is based on a short play, Disregard This Play, by Chicago’s Neo-Futurist Theater Company. The story is a little ditty of existentialist hell in which the central character, Dave, is told he is a clown. At first he denies, then he argues, then he dispairs, and ultimately, he concedes. MORE

Share This

Kingsley lived in perpetual danger of assassination. He reveled in the company of boxers and beautiful women and was said by some to have “a proclivity toward Greek love.” His background was somewhat mysterious — Russian, Irish and Welsh with rumors of Gypsy and what in those days was called Negro blood — and his accent seemed to travel, in the space of a single utterance, from Brooklyn to Harvard to Texas. If one man could be said to crystallize the violent contradictions of his time and place, surely it was Norman Kingsley.

Not that such a person ever really existed. But somebody — one person in particular — had to invent him. Norman Kingsley is the main character in a movie called “Maidstone,” and the alter ego, avatar and namesake of the film’s director, Norman Mailer (whose middle name, by the way, is Kingsley). “Maidstone,” shot in the Hamptons in the summer of 1968 and released in 1971, is the third of four feature-length films Mr. Mailer directed, following “Wild 90” (1967) and “Beyond the Law” (1968). The fourth, an adaptation of his 1984 novel “Tough Guys Don’t Dance,” is the only one in which Mr. Mailer does not appear and the only one that can be said to obey the conventions of commercial narrative cinema. It stars Ryan O’Neal as an ex-convict and aspiring writer mixed up in a series of murders in Provincetown, Mass.

Rest of this article here

We have linked to the above article as a context piece for our latest addition to Greylodge Special Collections: The Films of Norman Mailer.

Download Torrents

Maidstone

Wild 90

Beyond the Law

Tough Guys Don’t Dance

Share This

Download (.torrent)
Format: avi | Size: 500MB
Source: skronk1

Critic Brian Sewell had a “mutually confessional” sexual friendship with surrealist master Salvador Dali, which flowered over four summers at Dalí’s home in Spain. Sewell makes the case that Dalí was a painter of technical brilliance whose talent reached its high point in the 1930s, but declined into vulgarity when he moved to the US and embraced the cult of celebrity.

——-

Critic’s surreal briefs encounter
Peter Bradshaw
Saturday June 2, 2007
The Guardian

The elegant, mellifluously voiced art critic Brian Sewell has always had the ability to startle. With his sensational Channel 4 TV documentary about Salvador Dalí, he may have created his masterpiece.

Entitled Dirty Dalí, it recounts the story of his “mutually confessional” friendship with the surrealist master, which flowered over four summers at Dalí’s home in Cadaques on the Costa Brava in the late 60s and early 70s. Sewell was a comely young man holidaying alone, and the ageing Dalí invited him back to his house for lunch à trois with his wife, Gala.

Sewell fans will not easily recover from a photograph of the great critic on the beach clad only in the briefest pair of Speedo-style swimming trunks.

The bigger shock is Sewell’s revelation that after a long and convivial meal, Dalí took him for a walk in the garden, where he prevailed upon Sewell to remove his clothes, lie down next to an enormous statue of the reclining Christ - and masturbate, while Dalí snapped away with a camera and “fumbled in his trousers”.

Sewell says he believes the camera was empty, and Dalí was a mere voyeur. And yet his documentary shows Dalí’s house festooned with thousands of photographs, and Sewell appears to concede that an enormous, secret photo-archive of such encounters could exist.

The superbly candid programme outlines Sewell’s belief that Dalí was a painter of technical brilliance whose talent reached its high point in the 1930s, but declined into vulgarity when he moved to the US and embraced the cult of celebrity.

The documentary was timed to complement the Dalí and Film exhibition at Tate Modern (ending sept 9, 2007).

Share This

Her interest in material accumulation and disposal has manifested into a new 20 minute web-released animated film, produced with Free Range Media, the folks who brought us The Meatrix.

The Story of Stuff is an engaging and extremely straightforward walk-through of the stages of the materials economy. From “Extraction” through to “Disposal” Leonard’s narration is hard-hitting but not riddled with too many facts or technical jargon. The animation visually interprets much of what is spoken by Leonard, and it too is kept to a minimalist, simple presentation.

The end result is a film that is both and activist tool and a pedagogical resource. If you’ve ever wanted to explain what was wrong with the global economy (or just the economies of North America) and couldn’t find the right words, it’s time to press play.

The Story of Stuff brings complex economic data, theory and practice onto the screen in understandable, provocative and urgent language with animation that builds the narrative instead of distracting. In the end, the information is not dumbed down, and the message could not be more clear than an unpolluted lake: People made this system, and people can change it.

As the holidays approach for many in North America and elsewhere, it’s good to be reminded of a story that needs telling over and over until the malls are empty: The Story of Stuff.

To watch the film and explore the site which is choc-bloc with all kinds of information for alternatives and interventions, visit: StoryofStuff.com.  (VIA)

Share This

Today, several of the top movies on BitTorrent sites such as mininova are independent films produced by small movie studios. “The Man from Earth” and “Day Zero” are two recent examples of films that became known to a wide audience thanks to BitTorrent.

“The Man from Earth” in particular has become immensely popular due to its distribution on BitTorrent. After RLSlog reviewed the film and linked to a torrent of it and to the official site, the producer wrote to the blogger, thanking him for reviewing it. They had received some 23,000 hits in the days following the review and went from the being the 11,235th most popular movie on IMDB to being the 5th most popular one, and the most popular independent film in a matter of days. He said:

Our independent movie had next to no advertising budget and very little going for it until somebody ripped one of the DVD screeners and put the movie online for all to download. After that happened, people were watching it and started posting mostly all positive reviews on IMDb, Amazon and other places. Most of the feedback from everyone who has downloaded “The Man From Earth” has been overwhelmingly positive. People like our movie and are talking about it, all thanks to piracy on the net!

“Day Zero“, too, hasn’t even been released yet. But a leaked DVD screener of it has been making its way around the Internet. The movie premiered at the 2007 Tribeca Film Festival , but will only open in a few theaters in the US on the 18 of January ‘08, which will be followed by a wider release in the weeks after. Despite mainstream audiences having practically no access to this film, it has become popular online and is the 5th most seeded movie in the Drama category on mininova.

Of course there are still several independent Film producers that would rather not see their creations up for grabs while they are still running in theaters. The following quote is taken from an email that was sent to a BitTorrent site by one of the producers of Cashback. The film in question was downloaded nearly a million times over the past few months, reaching a much broader audience online than in the movie theaters.

Is it possible to remove it from your site for say 6 months? At least then it gives the filmmakers a chance to see how popular viewers really think it is, and for us to make our living. I can’t really attack film piracy, because reality is, it’s inevitable.. but until we find a real solution that works for everyone is it possible that we could have a bit of compromise from your end?

The reaction from the producer is understandable, but I dare to argue that the popularity of independent films on BitTorrent does more good than harm. A pirated copy does not equal a visitor lost in the movie theater, similar to music, independent films might actually profit from filesharing. It generates a lot of word to mouth advertising.

More and more people start to recognize the potential BitTorrent has. Last year filmmaker Mark Achbar released a torrent of the award winning Canadian documentary ‘The Corporation’ here on TorrentFreak. He was one of the first to realize that filmmakers can profit from BitTorrent, even though the official distributors did not agree.

It isn’t hard to see why filmmakers are starting to look at “piracy” in a different light. The more hype their movie gets early on, the greater the chance of someone wanting to buy the DVD or go see it in the cinema. It’s really as simple as that. Independent filmmakers don’t have the same promotional and marketing budgets as Hollywood studios, and getting the word out about their film is really the biggest hurdle for them. We’ve seen producers of TV shows start to leak content to BitTorrent and embrace filesharing, so why not movie producers too.  (via)

Share This

Subject: GPC Contact Form

From:    “Robert”

Date:    Wed, December 5, 2007 1:30 pm

To:      gpc@greylodge.org

————————————————————————–

Robert wrote:

please removed the film ”the future we will create”

http://greylodge.org/gpc/?p=1201>

Share This

Download Torrent- DivX AVI- 764 Mb.

Share This

Download Torrent- DivX AVI- 788 mb.

Share This

Throughout the course of her speech, the former housewife and needlepoint enthusiast stitches together so many disparate elements and rogue agencies into one overarching cloak-and-dagger meta-narrative, it’s a challenge sometimes just to keep pace with her. In Brussell’s worldview, it’s not unlikely to hear Hoover, Hitler, Hoffa, and Hughes, all in the same breath. And while her research is highly meticulous and annotated, its delivery is so rapid-fire, and the implications of each sentence so far-reaching, that watching it in one sitting is downright exhausting.

Whether or not you agree with any or all of her theories, or if you’ve even heard of her, you can still enjoy this film. It does, however, help to be fluent in the tongue of the paranoid, the language of the conspiracy buff. Conspirinoia, call it. Unless you can navigate through a conversation on the New World Order, the Warren Commission, the Illuminati and MK Ultra, you may find yourself staring at Ms. Brussell like a dog that’s just been shown a card trick. For novices, I’d recommend reading a transcription of one of her broadcasts first, so that when your mind begins reeling, and it will, you can let it all marinate a bit before returning to the fray.

Her basic argument, though, goes something like this: by studying the techniques employed by the CIA to overthrow foreign governments and replace them with more Western-friendly despots (sorry Reagan, “autocrats”) who are less hostile to the idea of contracting out their labor pools and natural resources to the U.S., and comparing these methods to those used by Nazi strategists and propagandists, Brussell discovered that the same tactics and even names recurred again and again. Her disquieting conclusion? The Third Reich didn’t die off after World War II, but rather was in effect absorbed secretly and purposefully into our own country’s highest echelons of government and industry and thrives to this day, acting as the invisible hand guiding our great big SUV down the road to ruin. Even though our government’s original goal was probably just to put all the German scientific know-how and insight to use for America, Brussell might say that we miscalculated. Hey, our leaders can’t think of everything. They were just giving top cabinet jobs to Nazi war criminals in order not to waste such bright minds. What could go wrong?

Augmenting the speech footage are various inserts of interviews with her friends that paint a portrait of Brussell as a true believer, and this comes across in the film. The conviction and righteous indignation with which she dissects and reassembles lies into what she sees as hidden truths are akin to the zeal of a preacher out to save the souls of the unconverted.

The film’s video and audio quality aren’t anything to write home about, but the chance to see Mae do her thing in front of a live audience of eager students is definitely worth the viewing. When she tells them (to paraphrase) “Your parents send you through our education system where they brainwash you for sixteen years, and if you once question it, they call you ungrateful,” the crowd erupts into applause. She comes across as sincere, earnest, and even humorous, and while you may scoff at some of her wilder connections, you’ve got to admire her dedication. For twenty five years she’s been speaking her mind to anyone who’ll listen on her little radio program out of Carmel, California, and even though she’s been threatened with death multiple times (including once by Sandra Good of the Manson Family) and monitored by the FBI (who have a one hundred twenty page file on her), she soldiered on until her death in 1988 of cancer (her followers suspect foul play). If her speculations seem too outlandish to be true, consider this: she predicted RFK’s assassination to his mother a week before it happened, and after World War II the US did in fact pardon war criminals from both Japan and Germany, including employing over five hundred Nazi scientists from the Third Reich and the S.S. into what eventually became NASA under “Operation Paperclip.” Perhaps the idea that some of them retained patriotism to their homeland isn’t so farfetched.

On the same token, it’d be a psychologist’s dream to examine Mae Brussell and make a case for her as a textbook Paranoid Personality or even Delusional Disorder. Yet the more you begin to examine the official record of history, the more you may find yourself wondering who’s been deluding who.

-Andy Gately

Download Torrent 1- DivX AVi- 1.1 gb.

Download Torrent 2- DivX AVI - 98 mb.

Share This

www.mindlift.tv

Choose from among a wealth of video-material, interviews, travelogues, lectures and registrations, mostly produced for Kleurnet TV in Amsterdam, an operation of Dutch journalist, media-entrepreneur and change-agent Luc Sala. He has shot, acquired or edited most of this material, which consist of many thousands of hours of video-material, only a small part is yet available via our website, but more and more is coming on-line as we progress.

This is a unique collection of both local Amsterdam events, politics, demonstrations, art in the period 1995-2007 plus nearly a  thousand interviews with local and global luminaries, teachers, writers, artists plus an enormous amount of global material, documentaries, beauty shots, rituals etc. from all over the world. It has the distinct flavour of Luc Sala’s world view, critical idealistic, non-denominational but very broad as it covers spirituality, religion, art, ICT, computer industry, psychedelics, magic, and many other subjects. In its totality, 3000 hours of edited material aired via the Amsterdam local television channels Myster Media, Salto and Kleurnet plus some 3000 hours of unedited raw footage, it gives a perspective of Amsterdam and its multicultural mix around the millennium of 2000. (VIA)

Share This