film • video • photography
Most of us love motion pictures. While I was always keen on learning how to make movies, it was not until we moved to Santa Fe that the possibility became a reality. New Mexico has abundant facilities, resources, training and legacy of filmmaking that goes back to Thomas Edison.
In our day, the majority of art is appreciated via the technology of Hi-Definition. Therefore it became not just an artistic ambition but a practical decision that made us enroll in film school. Since 2008 we have graduate level certificates in film production and have produced several of our own as well as worked above the line on dozens of projects.
Whatever medium of art one has to offer, HD is the means by which to share it. With the help of this technology, our creations can reach the entire global community.
OPEN CHANNEL CONTENT FILMS
About the making of Open Channel Content films
No Results Found
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
He tells her to throw away the book of translated poems she’s reading because “poetry, the whole of art in fact, is untranslatable.” This is Tarkovsky’s retort to the Soviet censors whose state he has fled in his quest for artistic freedom.
Art reaches us through our imagination and through our senses. Our senses are all going to have a common reaction to certain stimuli; that’s one thing great art understands. It seems to me an artist depends on the fact that essential associations will carve predictable lines through common precincts in our brains.
…As in a mirror, an icon, a riddle. I see life eternal which is nothing less but that blessed regard, that gaze of love that never ceases to behold me even in the most secret places of my soul.” Cusanus (1401-1464)
In “Andre Rublev”, Tarkovsky’s application of the theater of cruelty is fashioned to nourish pity, tug at the heart and urge us toward compassion and harmony. He intends for me to empathize with his victims.
Experience accumulates and organizes itself as knowledge along great forked trunks, branched, limbed and twigged networks in our minds. Tarkovsky’s camera conducts itself along similar lines.
Tarkovsky would say the experience of the present is elusive, a slippery one where anything could yet develop. The past is certain, it is therefore more solid. Evidently even a sculptor in time seeks something substantial for his chisel.
More than any other director than I can think of, Tarkovsky’s films could be strung together from first to last and represent a continuous fugue in which the artist’s grappled with the same challenge repeatedly and resolved some different aspect of it, each time, in some fascinating and inventive new way.
If I had to describe it to someone in a single line I’d say Vol. 2 unspools like one-third act of contrition, another third true confession, shedding light in cracks on his persona, as well as a few embedded in the collective unconscious, and one third of the time jabbing at the eyes of his audience.
The story I watched flat out warns us that violence breeds violence, as we watch Jo seesaw from being the punished to punisher in Volume 2. In the movie I watched, the protagonist finally learns to accept herself for what she is. That was not a predictable ending for me.
Open Channel Content, LLC