Search

The article analyzes the modes of subjectivity and affect in the depiction of planet Mars in the experimental film "Meridian Plain," by nonfictional filmmaker Laura Kraning. The artistic career of Kraning is detailed including the effect of her experience in abstract art on her filmmaking approach. The film uses images captured by Mars Exploration Rovers (MERs) between 2004 and 2015. The interplay of subjectivities and intertwining between Earth and Mars in the film is explained.

The article analyzes the sense of the eerie in the forest landscape in the avant-garde films "Aspect," by Emily Richardson and "Nightfall," by James Benning, and the virtual reality (VR) nature videos "Walking in the Woods" and "Relaxing Walk in the Forest." The films are described as slow ecocinema whose eeriness is due to the eco-realism of the artists. It explains the depiction of light in "Nightfall" and "Aspect". The effect of the tracking shot used in the VR nature videos is detailed.

The article analyzes the contemporary city symphony in the avant-garde films "Side/Walk/Shuttle," by Ernie Gehr and "Time Lines," by Runa Islam from the perspective of media archeology and cinéma trouvéve or readymade cinema. The origin of the term based on the idea of panoramic perception is discussed. It compares the elevator and cable car perspectives depicted in the films. The films are described as emphasizing the logic of panoramic view in modern data collection trends.

The article analyzes the flâneuse landscapes in the interdisciplinary film installation "Feminist Bodies in a Posthuman Mountain Imaginary" developed for Oxygen Art Centre Offsite Exhibition in Nelson, British Columbia. The depiction of the flâneur or a roaming female figure in the other works of feminist artists is explored. It explains the selection of the ghost town Zincton as film location. It details the use of technology to show posthumanist performativity in the installation.