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Content provided by Lost in Criterion. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Lost in Criterion or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
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Manage episode 432176078 series 2883660
Content provided by Lost in Criterion. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Lost in Criterion or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
We finish up A Hollis Frampton Odyssey this week, covering work from his Magellan cycle, a massive project Frampton was working on when he died. While previously discussed works like (nostalgia) show Frampton's ironic detachment, Magellan melds the history of film and Frampton's life story in a way that feels sentimental. These works also often seem to be in conversation with Stan Brakhage in a way we haven't seen from Frampton before (but then that might just be "Guys who have only ever seen Stan Brakhage watch another avant-garde film").
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In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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continue reading
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