Sunday, December 22, 2013

Epsiode #30 - Genevieve Yue (Café Lumière)

"I'm interested in how this condition of how the marginal wraps its way back to the center. Experimental cinema is seen in many ways on the fringes of mainstream filmmaking...but at the same time is about practices, expections, and often the film experience itself."

Between experimental cinema and the mainstream, between academic writing and teaching and mainstream criticism, New School professor and writer Genevieve Yue enjoys crossing the boundaries between the normally concrete lines of contemporary cinema and cinephilia. So in the latest episode, she sits down with Peter to talk about coming to experimental cinema through poetry, finding ways to teach and think about the avant-garde, and the transitional moment of Asian cinema. Plus, the two dive into Hou Hsiao-Hsien's Café Lumière, a film that allows for a cinema set in the spaces "in between" and one filled with layers of the past, whether cinematically or through the film's own narrative secrets. 

0:00-1:34 Opening 
2:24-7:32 Establishing Shots - George Cukor and Sylvia Scarlett / Sponsor
8:17-59:15 Deep Focus - Genevieve Yue
1:00:24-1:19:48 Double Exposure - Café Lumière (Hou Hsiao-Hsien)
1:19:52-1:21:31 Close
Visit Genevieve's website for her writing, teaching, talks, and programming.
Follow Genevieve on Twitter.

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Notes and Links from the Conversation
-Rewound - on VHS tapes
-An excerpt from Jonas Mekas's Walden
-USC Professor David James
-Genevieve's syllabus for her Medusa class
-Edison's Mary Queen of Scots (1895)
-Responses on the future of criticism (Part 1 and Part 2)
-On the films of Dani Leventhal
-Leventhal's Draft 9
-On Phil Solomon's EMPIRE
-Genevieve's writing on various Asian cinema: Im Sang-Soo's The Housemaid, Aptichatpong Weerasethakul's Syndromes and a Century, Jia Zhangke's Still Life (scroll down).
-More information on Takeshi Kitano's late night comedy.
-Morgan Fisher's Standard Guage
-An excerpt from James Benning's Grand Opera
-Anthology's China Girls program
-On Hughes's Curly Sue
-David Bordwell on Ozu and Café Lumière

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