Sunday, March 10, 2013

Episode #15 - Ignatiy Vishnevetsky (The Moderns)

"If you see something or notice something in an image, you kind of have to go after it. To me, that's the essence of criticism. It's not really for the squeamish or the prudish. If something looks like something, you have to say it, and you have to think it, and you have to think it through."

In 2011, a young cinephile named Ignatiy Vishnevetsky became the poster boy for new cinephilia during the return of Roger Ebert's At the Movies. But there's much more to Mubi's esoteric and erudite critic than his days on public television. Recorded over two snowy Chicago days in January, Peter sits down with Ignaty to discuss how his Russian heritage influenced the way he watches movies, his interactions with the video store, and his very twisted process to writing criticism. They also discuss his obsession with images in 21st century filmmaking and cinephilia, the rise of vulgar auteurism, and the moral guidance than drives his writing. Finally, Ignatiy introduces Peter to the intoxicating world of Alan Rudolph through his impressionist work The Moderns, a film that might long for an image of the past, but asks us to question the context in which we view them.

0:00-4:59 Opening / Establishing Shots - The Essential Narrative
5:00-7:52 Trivia Round / Donations
8:38-1:31:02 Deep Focus - Ignatiy Vishnevetsky
1:31:50-1:59:52 Double Exposure - The Moderns (Alan Rudolph)
1:59:54-2:01:47 Close / Outtakes
Read Ignatiy's work on Mubi, Cine-File, the Chicago Reader, and his blog Sounds, Images. View episodes of Roger Ebert's At the Movies.
Follow Ignatiy on Twitter.
Notes and Links from the Conversation
-I really wish I could tell you more about how to see Mohammad Malas's The Night, which I watched on the worse VHS recorded off of UK's Channel 4 in the 1990s. If you are interested, I am working to secure some sort of a digital copy somehow—Email me.
-The audio that opens this week's Establishing Shots is actually from Istvan Szabo's Father since The Night is so rare.

No comments:

Post a Comment