From: Jason Boughton (email suppressed)
Date: Tue Jan 05 2010 - 10:04:53 PST
Apocalypse Pooh is one of the finest movies ever made.
http://www.youtube.com/watch?v=rj_YPJvia8A
On Jan 5, 2010, at 12:28 PM, Brett Kashmere wrote:
> Hi Fred,
>
> To me, a "mash-up" is a uniquely digital creation, and derives from
> the layering of (typically) two distinctive, unrelated elements,
> which in turn, if done well, reveals surprising or subtextual
> relationships between the two sources. DJ Danger Mouse's Grey Album
> is one of the best and most famous instances of this practice,
> coupling a version of Jay-Z's Black Album with instrumentals from
> the Beatles "White Album." The mash-up does, seemingly, have it's
> origins in popular music, particularly hip hop, but there are also
> similar principles at work in the "cut-ups" of Burroughs and Gysin
> and many other forms of collage/appropriation.
>
> I was using the term "mash-up" deliberately, to delineate a
> particular thread of artistic practice, and one that is distinct
> from found footage filmmaking. I would never use the term "mash-up"
> to describe Lipsett's films, which build their meaning through
> intricate sound-image montage that develops and changes from moment-
> to-moment in a vertical manner. The mash-up is more about the
> aesthetics of simultaneity, montage in space.
>
> The course that I'm currently preparing, titled "Remixing the
> Archive: Techniques of Appropriation," will investigate the history
> and technique of recycling, sampling, manipulating, and transforming
> found images and sounds (including detournement, found footage/
> collage films, mash-ups, remakes, readymades, etc), and will reflect
> upon how shifts in technology and privatization have effected
> contemporary media production and access.
>
> Yesterday, someone pointed me to Scott MacKenzie's essay "The
> Horror, Piglet, The Horror: Found Footage, Mash-Ups, AMVs, the Avant-
> Garde, and the Strange Case of Apocalypse Pooh" (Cineaction 72
> 2007), which, coincidentally, begins with a reference to your "End
> of the Avant-Garde" piece. It examines the pre-Internet mash-up
> "Apocalypse Pooh," perhaps the first of its kind, and grounds the
> mash-up genre in a historical trajectory of found footage practice.
> It's an interesting and useful text, especially in light of this
> conversation. It's online at http://cineaction.ca/issue72sample.htm
>
> Brett Kashmere
> Oberlin College
>
>
>
>
>> ------------------------------
>>
>> Date: Tue, 5 Jan 2010 01:32:34 -0600
>> From: Fred Camper <email suppressed>
>> Subject: Re: Mash-ups (and ready-mades)
>>
>> I'd like to question the use of the term "mash-up."
>>
>> I remember being startled a few years back by an article in
>> "Wired"
>> magazine that referred to Arthur Lipsett's films as
>> "mash-ups."
>>
>> The term itself suggests its origin in pop music, and an
>> informality,
>> a rapidity of construction perhaps, that feels, to me,
>> thoroughly
>> wrong for Lipsett's films, or, say, Brakhage's "Murder
>> Psalm." "Found
>> footage films" or "collage films" are already-existing
>> terms that seem
>> better.
>>
>> Of course there may also be more recent videos for which
>> the term
>> "mash-up" is appropriate, and of course I understand that
>> some may
>> disagree with me and go on using the term for all such
>> films.
>>
>> Fred Camper
>> Chicago
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>
>
>
>
>
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> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.