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.
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)
Notes and Links from the Conversation
-Lincoln Center's "The Discreet Charm of George Cukor"
-Rewound - on VHS tapes
-Brakhage's The Dante Quartet
-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)
-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
-On Café Lumière
-David Bordwell on Ozu and Café Lumière