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Mon, Mar 21, 2011

Spring has sprung and things are certainly heating up. Check out tracks from upcoming Next@Wex artists including a few from the acts slated for the biggest party of the year, Off the Grid, on April 30.

Passion Pit (Off the Grid, APR 30), "The Reeling"
Papercuts (MAR 24), "John Brown"
Here We Go Magic (MAR 29), "Collector"
The Mountain Goats (APR 11), "Love Love Love"
Megafaun (APR 11), "Bonnie's Song"
YACHT (MAY 4), "Physhic City (Voodo City)"
Junip (MAY 15), "In Every Direction"
Cold Cave (MAY 21), “Poison Berries”
Shin Tower Music (Off the Grid, APR 30), "Geranium Tangents"

Mon, Oct 4, 2010
Jeanne Liotta
Jeanne Liotta

During the last of her two editing stints here in the Film/Video Studio Program, Jeanne Liotta and Associate Curator of Film/Video Chris Stults sat down to watch her newest film Crosswalk (2010) and to talk about her residency here.  Crosswalk premiered this past Saturday at the New York Film Festival's Views from the Avant Garde program.


Click through for stills from Crosswalk (2010).
Images courtesy Jeanne Liotta.
Tue, Aug 17, 2010

You may have thought that it was time for things to cool down. Not so. The fall is full of Next @ Wex shows. Check out Wexner Mixtape # 14 for a preview of the upcoming shows.

Califone, "Funeral Singers"
Neu!, "Negativland"
Isobel Campbell & Mark Lanegan (October 21), "Ballad Of The Broken Seas"
Van Dyke Parks, "Donovan's Colours"
Clare and the Reasons, "That's All"
Blitzen Trapper, "Furr"

Mon, May 24, 2010

The June issue of the British film magazine Sight & Sound includes a poll of international critics, asking for their top film books. While you'll need to pick up the issue to see all of the lists, you can see the magazine's top five selections here.

We thought it would be fun to gather lists from Wexner Center media arts curators, as well as a handful of OSU film studies staff, to see how our selections match up with the Sight & Sound poll. Apparently everyone was too self-conscious to include Kenneth Anger's Hollywood Babylon.

Leave your favorite or favorites here or on our Wexner Film/Video Facebook page and be entered into a drawing with a chance to win a Janus Films T-shirt and a Criterion Collection Blu-Ray copy of Akira Kurosawa's Kagemusha.

David Filipi
Curator, Film/Video, Wexner Center

  • Film Form: Essays in Film Theory (Sergei Eisenstein, 1949 – translated by Jay Leyda)

  • What is Cinema? (Andre Bazin 1967-71)

  • French Film Theory and Criticism: A History/Anthology, Volume 1: 1907-1929 (Richard Abel, 1993)

  • Dark Carnival: The Secret World of Tod Browning (David Skal & Elias Savada, 1995)

  • Henri Langlois: First Citizen of Cinema (Glenn Myrent, 1995)

  • David Lean: A Biography (Kevin Brownlow, 1997)

  • Who the Devil Made it: Conversations with Legendary Film Directors (Peter Bogdanovich, 1998)

  • Truffaut: A Biography (Serge Toubiana & Antoine De Baecque, 1999)

  • Movie Wars: How Hollywood and the Media Limit What Movies We Can See (Jonathan Rosenbaum, 2002)

  • The Conversations: Walter Murch and the Art of Film Editing (Michael Ondaatje, 2004)

  • Winsor McCay: His Life and Art (John Canemaker, Revised Edition 2005)


Ron Green
Professor, History of Art

  • Agee on Film, Vol. 1 (James Agee, 1958)

  • The Silent Clowns (Walter Kerr, 1975)

  • Pursuits of Happiness: The Hollywood Comedy of Remarriage (Stanley Cavell, 1981)

  • Allegories of Cinema: American Film in the Sixties (David James, 1989)

  • Hillbillyland: What the Movies Did to the Mountains and What the Mountains Did to the Movies (J. W. Williamson, 1995)

  • On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton (Bruce Jenkins, ed., 2009)

  • The Collected Writings of Michael Snow (1994)

  • The Devil Finds Work (James Baldwin, 1976)

  • Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Branden Joseph, 2008)

  • A Critical Cinema, Vols. 1-5 (Scott MacDonald, 1988 – 2006)


Bill Horrigan
Director, Media Arts, Wexner Center

  • The Parade's Gone By (Kevin Brownlow, 1968)

  • Godard on Godard (Jean Narboni & Tom Milne, eds., 1972)

  • Signs and Meaning in the Cinema (Peter Wollen, 1969)

  • Commentaires I & II (Chris Marker, 1961, 1967)

  • Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One (Callie Angell, 2006)


Judith Mayne
Distinguished Humanities Professor of French, French & Italian

  • The Technique of Film Editing (Karel Reisz, 1953)

  • Alice Doesn't: Feminism, Semiotics, Cinema (Tere3sa de Lauretis, 1984)

  • Stars & Stardom in French Cinema (Ginette Vincendeau, 2000)

  • Paris au cinem (N.T. Binh & Franck Garbarz, 2003)

  • Ziegfeld Girl (Linda Mizejewski, 1999)

  • Questions of Cinema(Stephen Heath, 1981)

  • Uninvited: Classical Hollywood Cinema and Lesbian Representation (Patricia White, 1999)

  • Cupboards of Curiosity: Women, Recollection, and Film History (Amelie Hastie, 2007)

  • Ma vie et mes films (Jean Renoir, 1974)


Mike Olenick
Studio Editor, Media Arts, Wexner Center

  • Cahiers du Cinema: 1960-1968: New Wave, New Cinema, Reevaluating Hollywood (Jim Hillier, 1992)

  • Cronenberg on Cronenberg (Chris Rodley, ed., 1997)

  • The Film Sense (Sergei Eisenstein, 1942) and Film Form: Essays in Film Theory (1949)

  • First Cut: Conversations with Film Editors (Gabriella Oldham, ed., 1995)

  • Godard on Godard (Tom Milne, ed., 1972)

  • In the Blink of an Eye (Revised 2nd Edition) (Walter Murch, 2001)

  • La Jetee: ciné roman (Chris Marker, 2008 (second printing))

  • How to Read a Film (James Monaco, 1977)

  • The Reality Effect: Film Culture and the Graphic Imperative (Joel Black, 1995)

  • Subtitles: On the Foreignness of Film (Atom Egoyan & Ian Balfour, eds., 2004)


Kris Paulsen
Assistant Professor, History of Art

  • The Emergence of Cinematic Time (Mary Anne Doane, 2002)

  • Expanded Cinema (Gene Youngblood, 1970)

  • Everything by Kaja Silverman

  • Image Music Text (Roland Barthes, 1977)

  • What is Cinema? (Andre Bazin, 1967-71)


Laura Podalsky
Associate Professor, Spanish & Portuguese

  • The Skin of the Film (Laura Marks, 2000)

  • The Subject of Semiotics (Kaja Silverman, 1983) or Male Subjectivity at the Margins (1992) (really, anything by her)

  • Tradicion y modernidad en el cine de America Latina (Paulo Antonio Paranagua, 2003)

  • Crisis and Capitalism in Contemporary Argentine Cinema (Joanna Page, 2009)

  • Change Mummified: Cinema, Historicity, Theory (Phillip Rosen, 2001)


Dana Renga
Assistant Professor, French & Italian

  • After Image: Film, Trauma and the Holocaust (Joshua Hirsch, 2004)

  • The Women Who Knew Too Much: Hitchcock and Feminist Theory (Tania Modleski, 1989)

  • Cinema 2: The Time Image (Gilles Deleuze, 2005)

  • Italian Cinema in the Light of Neorealism (Millicent Marcus, 1986)

  • Visual and Other Pleasures (Laura Mulvey, 1989)

  • The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Kaja Silverman, 1988)

  • Alice Doesn't: Feminism, Semiotics, Cinema (Teresa de Lauretis, 1984)

  • Everything by Pier Paolo Pasolini, but especially "Il cinema di poesia"/"The Cinema of Poetry" (1965)

  • Probing the Limits of Representation: Nazism and the "Final Solution" (Saul Friedlander, ed., 1992)


Chris Stults
Assistant Curator, Film/Video, Wexner Center

  • What Is Cinema? (Andre Bazin, 1967-71)

  • Notes on the Cinematographer (Robert Bresson, 1975)

  • Moving Places: A Life at the Movies (Jonathan Rosenbaum, 1980)

  • Pursuits of Happiness: The Hollywood Comedy of Remarriage (Stanley Cavell, 1981)

  • Vulgar Modernism: Writing on Movies and Other Media (J. Hoberman, 1991)

  • Poetics of Cinema (Raul Ruiz, 1995)

  • The Phantom Empire: Movies in the Mind of the Twentieth Century (Geoffrey O'Brien, 1995)

  • The Material Ghost: Films and Their Medium (Gilberto Perez, 1997)

  • The Film of Fritz Lang: Allegories of Vision and Modernity (Tom Gunning, 2000)

  • Andy Warhol Screen Tests: The Films of Andy Warhol Catalogue Raisonne, Volume One (Callie Angell, 2006)

Mon, Mar 29, 2010

O'er The Land

O'er The Land

Better late than never! The next installment of our bi-monthly (or so) radio program Transmissions is now up and ready for your downloading and listening pleasure. In this installment, we talk with Dionne Custer from our Education Department about Pages, an art experience and writing program for local high school students. After that, Chris Stults and Jennifer Lange from our Film/Video program talk about Deborah Stratman, who will introduce her film O'er The Land April 1st at the Wexner Center.

Download Transmissions #2 here.

Mon, Feb 8, 2010

The winter/spring is warming up. There's a full slate of music coming to the Wex over the next couple of months and we want to make sure that you're ready for it.

0:00 Tinariwen, "Tenhert"
5:30 Deerhunter, "Nothing Ever Happened"
11:25 The xx, "Islands"
14:08 Les Primitifs Du Futur, "C'est la Goutte d'Or Qui Fait Diborder La Valse"
18:30 jj, "Let Go"
21:35 Dum Dum Girls, "Jail La La"
24:06 Girls, "Lust For Life"
26:35 Joanna Newsome, "Sprout and the Bean"
31:15 Owen Pallett, "Lewis Takes Off His Shirt"


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Mon, Jan 4, 2010
In an attempt to provide an even better podcast experience for you, our faithful listener, we've decided to play with the format little bit, doing less free-range, unedited interviews. While those have their place, everyone can stand a good editor. We've decided to go about packaging interviews and behind-the-scenes info into more of a "radio show." Shorter interviews, music, news, information about upcoming events at the Wex, you get the idea. We're calling it Transmissions. The first installment of this (we'll try to time them with our printed calendar which lands six times a year) features interviews with artist Cyprien Gaillard, Ohio State Dance Professor David Covey reminiscing about Merce Cunningham, and Wexner Center Film/Video Curator Dave Filipi talking about the new partnership with the Gateway Film Center.

Listen here: Transmissions #01

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Mon, Nov 23, 2009

Jean Pitman, educator for youth programs, and Chris Stults from our Film/Video department discuss the films and activities surrounding the upcoming Zoom: Family Film Festival.

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Mon, Nov 16, 2009

Listen to what happened on Saturday, November 7, when members of the Cirque d'Art Theater in Portsmouth, Ohio, traveled up to Columbus to see themselves in Liza Johnson's short film In the Air, which screens until Nov 30 in The Box.

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Special thanks to Pegi Wilkes, Trisha Schmidt, Lee Brown, Daphany Bauer, Hayden Schmidt, Autumn Thompson and everyone from Cirque D'Art Theater who were so generous with their time.  Also thanks to Jean Pitman in our Education Dept and Paul Hill in Art & Tech.

Liza wasn't able to join us so we asked her a few questions about the evolution of this project and what's ahead. Read her answers after the jump.

How did this film come about?

Almost two years ago I spent some time in Scioto County, Ohio, researching a feature film script I'm shooting this spring. I grew up there, but I haven't lived there since high school, and I thought I should get up to date. I met Pegi Wilkes, the director of the circus school, and she introduced me to a lot of fabulous people from all over the county, who go to different school systems, are all different ages and types, who can do amazing things with their bodies. The thing that really compelled me to do the movie was the sense of atmosphere or community that happens at the school—it's very special, and made a big impression on me.

How did you prepare for this shoot?

We had a series of workshops with a core group of circus students.  We agreed that it would seem fake to just tell a sentimental story about how great the circus is-- in fact, the students had been on a regional TV news magazine recently, and that segment had focused on the work the circus does with physically disabled students.  We all agreed that their work with physically disabled student IS amazing, and heartwarming, and something to really be proud of.  But there are other aspects the students wanted to show.  People really enjoy the atmosphere of the school because it's a reprieve from things that are hard in everyday life.

Teenage life is hard everywhere because you're not really in charge of yourself yet, even though you feel like you should be.  Plus, Portsmouth is like many other places in the U.S. right now that have been really slammed by the new demographics of economic crisis, methamphetamine and prescription opiates. So there are a lot of things that can be especially hard in people's everyday family life.  But we also didn't think it seemed right just to make a movie about how things are hard or annoying.  We thought that the only way to really explain how special the circus atmosphere is would be to dramatize that environment in relation to the things that are boring or challenging about the rest of everyday life.

So everyone submitted ideas, often from their own lives, about things that are really fun about the circus school, or elements of conflict or annoyance from the rest of life.  Then I remixed these ideas so that no one had to act out their own particular joys or traumas-- we all were working collectively on a group experience, but not necessarily reenacting biographical experiences. The things in the movie could happen or have happened, but not necessarily to the exact people who are acting them out.

In South of Ten, which was shot in post-Katrina Gulf Coast (and which we showed in The Box in September 2007) you also worked with local, non-professional actors.  Can you elaborate on this strategy and what it lends to your story-telling process?

When I went to Mississippi with Anne Etheridge, everyone we talked to had been interviewed on TV, or at least they had seen a great deal of TV coverage about Hurricane Katrina.  People had strongly internalized sense of what you were supposed to say to be a "hurricane victim" on television.  People are smart, and everyone knows how to fit into the common conventions of news reporting in order to make your voice heard.  But at the same time, the atmosphere and tone of everyday life there was really intense, and seemed really important to me and very different from anything that could be represented through those conventions.  The people who made the film with me agreed that other aspects of life after a catastrophe were also important, even if TV doesn't care about them so much: waiting, being overwhelmed, working.

Some familiar formats, like news and documentary, value the interview because it supposedly represents the first-person perspective of people who are important witnesses or players in events.  But this is only true in the realm of language.  In the body and the three-dimensional world the interview doesn't show you anything about what it feels like to be moving a house back onto its foundation, or to be flipping through a field.  For me it's interesting to try to find ways that the same kind of important witnesses or players can testify to their experiences, but in some of the other registers that film and video make possible-- for example, the physical, the kinesthetic.

What are you working on now?

I'm casting the feature film for the spring. It's set in a place kind of like Portsmouth. The film uses a very sensate form of realism, and the cast are super-trained actors with a high degree of craft. So I will be using really different methods, but I am hopeful that the actors' craft will take us back to a similar place, a comparable kind of realness, but by coming from a completely different direction.

I'm also working on some other projects-- I was recently invited to a community in northern Australia who would like to make a film in the collaborative way I did on South of Ten and In the Air. So we're hopeful that we'll be able to do that sometime in the coming year. And I've been doing some writing projects.  One is a critical studies article about the artist Michael Rakowtiz, and another is a collaboration with Gregg Bordowitz.
Mon, Oct 26, 2009
In The Air

Jennifer Lange, associate curator of Media Arts, discusses In the Air, screening in The Box throughout November.

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