“The South African covid lock-down was announced one week into the shoot, and the crew had to pack up the whole show. Some went back to Cape Town, some stayed behind in the forest. Everyone drifted in uncertainty for a long time. The content of the film had such an uncanny resonance to what was happening in the world.” (trivia)
Sound of My Voice is a 2011 American psychological thriller film directed by Zal Batmanglij in his feature directorial debut and starring Christopher Denham, Nicole Vicius and Brit Marling. The plot focuses on two documentary filmmakers who attempt to expose a cult led by a charismatic leader (Marling) who claims to be from the future. The film was written by Batmanglij and Marling.
The film was originally intended to be the first installment of a trilogy. (wiki)
timespace coordinates: 1920’s (filmed over a period of about 3 years) – urban life in the Soviet cities of Kyiv, Kharkiv and Odessa.
The film Man with a Movie Camera represents
AN EXPERIMENTATION IN THE CINEMATIC COMMUNICATION
Of visual phenomena
WITHOUT THE USE OF INTERTITLES
(a film without intertitles)
WITHOUT THE HELP OF A SCENARIO
(a film without a scenario)
WITHOUT THE HELP OF THEATRE
(a film without actors, without sets, etc.)
This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema on the basis of its complete separation from the language of theatre and literature.
Man with a Movie Camera (Russian: Человек с кино-аппаратом, romanized: Chelovek s kino-apparatom) is an experimental 1929 Soviet Ukrainian silent documentary film, directed by Dziga Vertov and edited by his wife Yelizaveta Svilova.
Man with a Movie Camera was largely dismissed upon its initial release; the work’s fast cutting, self-reflexivity, and emphasis on form over content were all subjects of criticism. In the British Film Institute’s 2012 Sight & Sound poll, however, film critics voted it the 8th greatest film ever made, and it was later named the best documentary of all time in the same magazine. (wiki)
China has become deeply integrated into the world economy. Yet, gradual marketization has facilitated the country’s rise without leading to its wholesale assimilation to global neoliberalism. This book uncovers the fierce contest about economic reforms that shaped China’s path. In the first post-Mao decade, China’s reformers were sharply divided. They agreed that China had to reform its economic system and move toward more marketization—but struggled over how to go about it. Should China destroy the core of the socialist system through shock therapy, or should it use the institutions of the planned economy as market creators? With hindsight, the historical record proves the high stakes behind the question: China embarked on an economic expansion commonly described as unprecedented in scope and pace, whereas Russia’s economy collapsed under shock therapy. Based on extensive research, including interviews with key Chinese and international participants and World Bank officials as well as insights gleaned from unpublished documents, the book charts the debate that ultimately enabled China to follow a path to gradual reindustrialization. Beyond shedding light on the crossroads of the 1980s, it reveals the intellectual foundations of state-market relations in reform-era China through a longue durée lens. Overall, the book delivers an original perspective on China’s economic model and its continuing contestations from within and from without.
Table of Contents
Introduction
Part I: Modes of Market Creation and Price Regulation
1. China’s Tradition of Bureaucratic Market Participation: Guanzi and the Salt and Iron Debate
2. From Market to War Economy and Back: American Price Control during World War II and Its Aftermath
3. Re-creating the Economy through State Commerce: Price Stabilization and the Communist Revolution
Part II: China’s Market Reform Debate
4. The Starting Point: Price Control in the Maoist Economy and the Urge for Reform
5. Rehabilitating the Market in Theory and Practice: Chinese Economists, the World Bank, and Eastern European Émigrés
6. Market Creation versus Price Liberalisation: Rural Reform, Young Intellectuals and the Dual-Track Price System
7. Debunking Shock Therapy: The Clash of Two Market Reform Paradigms
8. Escaping Shock Therapy: Causes and Consequences of the 1988 Inflation
Irma Vep is a 1996 film directed by the French director Olivier Assayas, starring Hong Kong actress Maggie Cheung (playing herself) in a story about the disasters that result as a middle-aged French film director (played by Jean-Pierre Léaud) attempts to remake Louis Feuillade‘s classic silent film serial Les vampires. Taking place as it does largely through the eyes of a foreigner (Cheung), it is also a meditation on the state of the French film industry.
The idea for the film was born out of an attempted collaboration among Assayas, Claire Denis, and Atom Egoyan, who wanted to experiment with the situation of a foreigner in Paris. In the 1915 original serial, written and directed by Louis Feuillade, Irma Vep was played by French silent film actress Musidora (1889–1957). Much of the film depicts set-related incidents that echo scenes in Truffaut‘s La nuit americaine (English title: Day for night), to which Irma Vep owes a large thematic debt.
TimeSpace Warps 