[Frameworks] CALIGARI 1-4

[CALIGARI]

[image: Email.jpg]

Dear Frameworkers,

Last month marked the release of Issue 04 of CALIGARI
<http://caligaripress.com>, a multimedia periodical of cinema, arts, and
letters. As a quarterly website (01 <https://caligaripress.com/Issue-01-2>
02 <https://caligaripress.com/Issue-02-1>  03
<https://caligaripress.com/Issue-03-1>  04 <https://caligaripress.com/>),
this marks the end of the first cycle, and the beginning of the next. If
you haven't had a chance to check it out, take a peek when the time is
right to find projects by Jia Zhangke, Jennifer Reeder, Sandi Tan, Amy
Heller, Adam Piron, Devika Girish, Carolyn Funk, Anthony Richmond, Olivier
Assayas, New Red Order, Masha Tupitsyn, and more.

The new issue opens with a piece Billy Wilder wrote when he was twenty
years old called “The Art of Little Ruses.” It was 1927 and Wilder was
living in Berlin, hot off a stint as a young dancer for hire, working the
beat as a freelance reporter with a gift for gab who walked fast and cut
his cigarettes in half to make them last longer. This one, translated by
Shelley Frisch for a volume edited by Noah Isenberg for Princeton
University Press, remains relevant and funny. Filmmaker, essayist, and film
restorationist Ross Lipman presents “The Archival Impermanence Project, or:
Performing Cinema in the Age of the Death of Everything” — a helpful tool
in the battle against distraction that outlines ways to optimize the
conditions for watching movies at home. (Erstwhile Senior Film
Restorationist at the UCLA Film & Television Archive, Lipman has restored
some incredible films, like *A Woman Under the Influence, Wanda, Killer of
Sheep, The Exiles*. . .) Cinematography historian Patrick Keating, author
of a terrific book on the history of Hollywood camera movement called *The
Dynamic Frame*, presents a short video essay called “Figueroa’s Lines,”
about Mexican cinematographer Gabriel Figueroa’s collaborations with Emilio
Fernández and Luis Buñuel; there are interviews with Berlin-based artist
Rosa Barba, who works in the lineage of expanded cinema and recently opened
an exhibition at the Luhring Augustine gallery in Tribeca, and filmmaker
László Nemes, who makes an impassioned distinction between cinema and
television and describes the historical draw of his subjective approach to
cinematic narration. Poet and writer Cecilia Pavón contributes a literary
reflection on her domestic space in Buenos Aires during the quarantine,
translated here from its original Spanish, and musicians Nuke Watch present
a video directed by Aaron Anderson from their new self-titled release, *NUKE
WATCH*, out now on The Trilogy Tapes.
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