The Audible Picture Show is an international touring show of audio works created for cinema by a diverse range of people including visual artists, film makers, animators, radio makers, audio artists, sound designers, writers and musicians. Each show is compiled afresh from a growing archive of 100+ unique works with many pieces being created at the invitation of the show's curator.

Tonight's screening at Kino Tilsiter Lichtspiele is co-curated by Berlin audio artist Helena Gough & the show's founding curator, artist & film maker Matt Hulse & will feature new works by Gilles Aubry, Martin Clarke & Esther Venrooy.

While most talk about the future of film centers on technology, copyright and piracy, Berlin-based author Stephen Barber looks back at the tradition of the cinematic experience for the moviegoer as a means of previewing future film habits.

For his latest book Abandoned Images (2010), Barber photographed a series of rundown (and many disused) film theaters in Los Angeles, each originally built in the early 20th century. Once majestic palaces where throngs of people would gather to witness the latest spectacle, they now stand as decrepit throwbacks to the (dare we say it) "golden days of cinema", with Barber arguing that perhaps the decay of these buildings is the tangible semiotic of the changes that film has undergone in the digital society, presenting an argument that film must find ways of adapting to survive and safeguard its inherent sense of wonder.

Tonight, Barber will present passages from his book alongside film festival curator Verena von Stackelberg. Reservations are necessary. Send an RSVP to info@dialogueberlin.com.

"A film about a man who tried to make a film about me" is how Banksy describes his first feature.

The British graffiti artist is renowned for producing iconic street art and fiercely guarding his identity to avoid prosecution. Little surprise then, that he was unwilling to be filmed by an eccentric French shop owner named Thierry Guetta.

EXIT THROUGH THE GIFT SHOP traces Thierry's attempts to capture the world of graffiti art in thrilling detail, following many of the best known vandals at work in the streets. We trace Thierry's efforts to locate and befriend Banksy only to have the artist turn the camera back on its owner - with spectacular results. An incendiary true story of low-level criminality, companionship and incompetence. The story of how one man set out to film the un-filmable. And failed.

The London newspaper 'The Times' once called Banksy "the true people's painter". His black-and-white images of kissing policemen and rioters throwing flowers are now popular icons. Banksy's work can be seen on walls from post-hurricane New Orleans to the Palestinian West Bank. His graffiti combines wry humour with political comment - both of which can certainly to be expected from his cinematic debut, which he has dubbed "the world's first street art disaster movie".

Banksy began his career as a graffiti artist in Bristol where he was a member of Bristol's DryBreadZ Crew (DBZ) from 1992-94. He works free-hand and with stencils, latterly opting for the exclusive use of stencils. His committed works can be seen on streets all over the world as well as in museums (MoMA, Tate Modern). He has also created album covers (for 'Blur' among others) and has published his work in books, such as the recent publication "Wall and Piece".

14.​02. 22:30 Berlinale Palast
15.​02. 15:00 Friedrichstadt Palast
15.​02. 20:00 Urania
21.​02. 17:30 Berlinale Palast

Socialism is the most extensive social experiment in the history of humankind that is based on an initially utopian, then scientific, notion of the future: Communism. It is from this realm that one of the few Science Fiction works emerged which really deserves the attribute 'science': the Polish writer Stanislaw Lem spent his entire life developing a vision of the future that would incorporate technological, social and psychological criteria. Fittingly, the first Science Fiction film coming out of the GDR as a German-Polish co-production - Der Schweigende Stern - is based on one of his early works. The fascinating imagery in Total Vision (the East German wide screen equivalent of the American Cinemascope) reveals how a global visual canon of utopian ideas was begun to be created in the 1950s; and further developed throughout the following decades until eventually coming more or less to a standstill for lack of new utopias.

Der Schweigende Stern, Kurt Maetzig, gdr 1959, 95min (German only)

When filmmaker D.A. Pennebaker was asked to film David Bowie's concert at the Hammersmith Odeon in London on July 3 1973, he was kept in the dark as to the now-infamous theatrics the singer was planning for the performance: to "kill off" alter ego Ziggy Stardust.

Hardly given a second glance by Bowie's label RCA and critiqued largely for its poor sound and picture quality, the film's popularity has nevertheless snowballed, thanks to the legions of Bowie fans clamoring to witness his final performance as Ziggy.

Those seeking the personal portrait of an artist that earmarked Pennebaker's Bob Dylan biopic Don't Look Back (1967) as a classic may be left disappointed but with killer performances of Changes, Space Oddity and a medley of Wild Eyed Boy from Freecloud, All the Young Dudes and Oh You Pretty Things plus covers of the Stones' Let's Spend the Night Together and Lou Reed's White Light/White Heat, this film is unmissable for any Bowie fan.

Touch Yello evokes moods, pictures and movie scenes. For the creation of this virtual concert they're working with Kevin Blanc, a Swiss moving image designer and art director.

This is the logical next chapter in Yello's 30-year history, which has seen the electronic innovators pushing the limits of music video production since 1981, when they released "Pinball Cha Cha", a suave figure-oriented video that was later included in the Museum of Modern Art's Music Video Exhibition.

However, the most mainstream aspect of Yello's music and film career sprung from the success of the 1985 single "Oh Yeah", an addictive number which was prominently featured in John Hughes' classic Ferris Bueller's Day Off, among other films. After that, the group continuing composing for the silver screen: they scored the comedy Nuns on the Run and band member Dieter Meier directed the 1990 feature Snowball.

Taking cues from Edgard Varèse's complete recorded work, british Electronic Artist par excellence Robin Rimbaud, aka Scanner presents his new score for John S. Robertson's silent film version of Stevenson's classic horror story.

"It's a little known fact that the composer Edgard Varèse, celebrated for his inventive and sculptural works, abrasive and precise, also acted in this classic 1921 silent movie by Robert L Stevenson, playing the role of a police officer. For this commission I have re-sampled the entire archive of Varese recordings towards a new soundtrack, using digital tools to re-process and re-imagine something that might be heard today if only Varese were still with us." - Scanner

Gartenbaukino is proud to present this special evening, commisioned and produced in collaboration with philiale and Wien Modern.

We couldn't believe our eyes, when we read that this pearl of modern American comedies never actually had an Austrian premiere.

In this quote-for-days-flick Will Ferrell is TV news anchor Ron Burgundy in 1970s San Diego. This is Pre-B.W. (Barbara Walters), a dark age when men reported the news almost exclusively.
Burgundy, shallow and self-absorbed without redemption, chases skirts and is so genuinely stupid he reads ANYTHING on the teleprompter. His news crew consists of adulators and one misfit, Brick Tamland, played with unremitting mental blankness by Steve Carrell.
Burgundy's dog is a delight, a pooch who can bark in a few languages.

The "Men's Club" is jolted by the station honcho's decision to add a woman to the newsroom, largely to appease the network satraps. He says it's necessary in the interests of "diversity," a word one staff member doesn't even understand. Enter pretty but tough Veronica Corningstone, Christina Applegate.

A misadventure by Burgundy results in Veronica's pinch-hitting chance to anchor the evening news. Veronica scores big time. She and Ron are already lovers and she expects him to be thrilled that his absence was her big break. The rest of the film is Ron's Revenge and Veronica's Counterattack.

Status quo of Austrian Video Art: presentation of the Ursula Blickle videoarchiv with Gerald Bast, Gerald Matt, and guest of honor Ursula Blickle
Lecture by Gerhard Johann Lischka Panel discussion with Gerhard Johann Lischka, Erwin Wurm, and two young video artists.
Moderator: Angela Stief.

Presenting the world premiere of the unique Soundtrack for Victor Sjoström's legendary silent horror film "The Phantom Carriage", composed and performed by Stephen O'Malley (Sunn O)))) and Peter 'pita' Rehberg (eMego).

One of Ingmar Bergman's favorite films and generally considered to be one of the most innovative genre films of it's time, The Phantom Carriage (Körkarlen) is a prime example of romantic horror, technically innovative, haunting and intensely beautiful.

Fellow music extremists O'Malley and Rehberg were commissioned to write a new score by acclaimed DVD label Tartan under the KTL moniker back in 2007 and have finally agreed to perform it live in front of the gigantic screen of Vienna's biggest cinema.

Afterparty with Duo Bygdin from Norway.

Tickets are €15 and available at jugendinfo, Gartenbaukino, Konzerthaus and phil

It's hard to believe, but the filmmuseum screens Tallageda Nights as an Austrian premiere over three years after its innitial release in the US.

Here's the deal...
Ricky Bobby (Will Ferrell) is born in the backseat of a souped-up Chevelle. His motivation in life is given to him when he is ten years old by his alcoholic father: "If you ain't first, you're last."
This mantra carries him to the pit crew of a losing race team. When he's given the chance to finish a race, Ricky shows that there isn't much he won't do to win. Teamed with his best friend Cal Naughton, Jr. (Reilly) they become 'Shake and Bake' and go on to NASCAR super-stardom.
Ricky has the perfect life. A sexy wife, a family, riches. Enter Jean Girard (Cohen), a flamboyant Frenchman who begins to unravel Ricky's perfect world by beating him on and off the track. Ricky is forced to deal with his own fears. And a cougar.

One of the last Herzog films being shown in this unofficial Herzog season, arts organisation V22, are obviously saving the best til last. The Great Ecstasy of Woodcarver Steiner has been described as one of Herzog's best works and the director himself calls it "one of my most important films."

The documentary follows the extraordinary story of Walter Steiner, a German carpenter who also happened to be a world champion ski-jumper during the 1970s. Told in Herzog's inimitable style, this short feature focusses on Steiner's fearlessness juxtaposed with his more mundane day job, as well as the poetry and pitfalls of a challenging sport. The film's being shown at Cafe Oto, a little gem of a cafe in Dalston but it's not a huge space so be sure to book your tickets.

The last G8 summit would have undoubtedly been much less boring if a colossal Martian chicken had appeared just a few meters away from the event.
That did not happen, but Kawasaki Minoru, the Japanese Ed Wood, certainly would have hoped for it to so he could laugh at Yankee arrogance, polonium 210 and French skirt chasing plus, while at it, pay impassioned "fan fatal" tribute to classic monster and superhero movies.

Well Kawasaki has done it, all this and more, with an old-style revival starring the most ridiculous monster in "kaiju eiga" and a Beat Takeshi idolized as the Hindu version of Daimajin.

The artistic duo was born in London with an anxious desire to illustrate the actual atmosphere. They transform the past and present through worn-out, broken textures, and combine original Super8 images, video and stop motion.

Sure.

Great! So about the scene in which your character Roy Batty dies. He says, "I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. C beams glittering on the Tannhauser gate. All those moments will be lost in time, like tears in the rain." Can you tell us how that line came to be in the movie the way it was?

When I first read the script, my character's death scene consisted of 300 words of techno babble. I thought it was bad timing to start preaching at that point in the movie. I didn't think it would be good drama. Also, when the battery of an android dies, it dies. It doesn't have time left for an entire page of chit-chat. I thought it would be nice to have Roy say in one sentence what he will miss about life instead. I kept two sentences that were in the original script and added one: "All those moments will be lost in time, like tears in the rain." I made that up. Next day on the set I told Ridley: "I lost everything besides these three lines, what do you think about it?" And he liked it, 'cause he said: "That's a good idea."

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via Spreeblickfeed

none-of-your.biz

Since 2005 MobMov or 'Mobile Movie' has been reviving drive in cinema by rallying groups worldwide to create their own mobile screenings right from their car.  Claiming to be the first group to lead the drive in revival, MobMov groups now operate in over 32 nations and have around 13,199 members.  Using car batteries and video projectors the group has posted a very straight forward tutorial on creating your own guerrilla screening on their website.  All that's needed is a projector, inverter, DVD player, FM transmitter, a car with a large, flat windshield and a viewing area.

Read the tutorial here.

Guerrilla Drive-Ins

By Claudia Cukrov | © PSFK, 2009. | Article Link | Comments | More stories in: Arts & Culture, Automotive, Electronics & Gadgets, Entertainment, Global Community, TV & Film and

The release of the iPhone 3GS, now capable of shooting decent 30 frames per second video, has lead to an explosion of video content--according to YouTube, a 400% increase per day since it launched. But also according to YouTube, many of the videos have been of the Well, let's just test this out... variety, with uploads such as "At grandpa's house," "At a wedding," and "squashing a can." Not exact riveting cinema. But already, creative minds such as the filmmakers at Showdown Productions LLC, a small Ohio group, have put the new tech to good use. The Shodown team recently completed work on a music video shot entirely on an iPhone 3GS, using an improvised steadycam rig. While the non-traditional equipment had its foibles, such as battery life and awkward aut0-exposure adjustment, the team praised the iPhone's small footprint and lightness, which they say allowed for a flexible filming experience, as well as easy editing with a laptop in tow. The full video can be viewed below.

[via Wired]

By Sam Biddle | © PSFK, 2009. | Article Link | Comments | More stories in: Electronics & Gadgets, Media & Publishing and iphone, music video