WEFOUNDthe exiles 1961 watch online


There’s this thing they always tell theatre actors in preparation for ‘on-camera’ work: pull it back, don’t overdo it, take what you’d do in a theatre – all that projection, all that emoting – and pare it back 90 percent. The camera doesn’t care about any of that. The camera’s not looking for it. The camera magnifies even the tiniest gesture, so the camera just wants you to be natural. Just don’t act. Be yourself and say the lines, and let the camera do its work.

That would be another festival. Although it included some documentaries and meta-docs, ‘The Non-Actor’ seemed concerned with the many ways a non-actor can jam up the narrative works, as well as the varying reasons why filmmakers would want to jam up these works—from a romance with failure (Andy Warhol’s relentless Vinyl (1965), George Kuchar’s sublime I, An Actress (1977)) to a Brechtian critique of power and spectacle (Peter Watkins’ awkward-but-effective 1971 mockumentary Punishment Park ), to registering the chaos wrought by untamed affect (Ronald Brownstein’s Frownland (2007)).

David Levine is an artist and former theatre director. His exhibition ‘Some of the People, None of the Time’, a project about fake crowds, will open at the Brooklyn Museum, New York, in May 2018.

There’s this thing they always tell theatre actors in preparation for ‘on-camera’ work: pull it back, don’t overdo it, take what you’d do in a theatre – all that projection, all that emoting – and pare it back 90 percent. The camera doesn’t care about any of that. The camera’s not looking for it. The camera magnifies even the tiniest gesture, so the camera just wants you to be natural. Just don’t act. Be yourself and say the lines, and let the camera do its work.

That would be another festival. Although it included some documentaries and meta-docs, ‘The Non-Actor’ seemed concerned with the many ways a non-actor can jam up the narrative works, as well as the varying reasons why filmmakers would want to jam up these works—from a romance with failure (Andy Warhol’s relentless Vinyl (1965), George Kuchar’s sublime I, An Actress (1977)) to a Brechtian critique of power and spectacle (Peter Watkins’ awkward-but-effective 1971 mockumentary Punishment Park ), to registering the chaos wrought by untamed affect (Ronald Brownstein’s Frownland (2007)).

David Levine is an artist and former theatre director. His exhibition ‘Some of the People, None of the Time’, a project about fake crowds, will open at the Brooklyn Museum, New York, in May 2018.

The splendid neon of Broadway in the 1950s is on display here. However, as Yvonne travels into a movie theater on her own, the flashing lights take on a melancholic tone. This street may seem to a celebration of the opulence of American consumerism, but it also acts as backdrop to experience the disappointment, alienation and loneliness of migration. The scenes from Main Street, ruled by masculine order, also show alienation, though manifested in a different way.


41wXHS+cVeL