Film Curatorship in the Streaming Era
Online // In English //
Selecting films, grouping them in terms of their tensions and / or continuities, redeeming or discovering authors, reconsidering cinematographic genres and their histories, recovering old traditions and making them dialogue with the present reality of cinema constitute the essential acts of curating. This preceding list stands – even now in the era of streaming – as unavoidable material in the curator’s imagination, though alongside the emerging substitution of one model of exhibition for another, which does not inevitably mean the end of movie theaters. More than ever, there is a demand for thinking about the differences – not always evident – between the menu of a platform and the program of a festival, as well as for problematizing the material conditions of exhibition that have aesthetic implications, while not discounting the reinvention of the activities around a real space of exhibition and a general event that is more than just the typical section of questions and answers.
David Schwartz (Netflix)
Jaume Ripoll (Filmin)
Émilie Cauquy (Henri)
Nellie Killian (Metrograph)
Make Yourself Comfortable: Film Criticism From Home
Online// In English
Any text that was published up until the last decade of the 20th Century could not count upon the advantage of the author knowing that she or he could once again see the assigned or selected film in order to review it. Reviewing a few fragments on the very computer in which one was writing the text had to be enough. This novelty that has now become natural is a change of paradigm for all film critics, and the exponential growth of streaming and the proliferation of links has become instituted as the main way of watching films. However, having the film right at hand does not immediately mean having an advantage, because there are determining modifications in the way films are received: the size of the screen, the audio quality, the intermittence or interruptions in viewing due to the subdivision of tasks that characterize the nature of working on computers, and the absence of a public or colleagues that make up another source of information about the immediate effects of the reception of a film. Under these working conditions there are benefits and losses, and they inexorably change the perception, concentration and predisposition of the critic.
Michelle Carey (Senses of Cinema)
Ariel Schweitzer (Cahiers du Cinéma)
Diego Lerer (Micropsia)
Jordan Cronk (Film Comment)
Spaces of cinematographic creation / Espacios de creación cinematográfica
(Online // In Spanish
The great problem for cinematographic teaching resides in lavishing technical and symbolic tools that do not ignore aesthetic traditions, film history and various conceptions of cinema, but in doing so can assure a space of freedom for the students, in which they can disobey, question and take up poetic and political traditions. Avoiding the traps that filter down from the institutionalization of film as an art, whose rules are vindicated by festivals and previously propagated by the residencies and workshops of those festivals and their related institutions, is a didactic imperative of the highest degree. The challenge is evident: how to conjure the shortest path to poetics legitimized and tinted with prestige? How to prepare the terrain so that in the future the cinema will know the new Pasolini, Bresson, Wiseman, Akerman, Varda, Muratova, Tati y Kiarostami?
Eva Vila (Universidad Pompeu Fabra)
Luis Ferrón (ECAM)
Pablo Useros (Master LAV)
Clara Sánchez-Dehesa (Zine Eskola)