Jesse Malmed gathers experimental film, video art, new media works and poetics for Projective Verse.

It takes inspiration from and issue with:

Hurray for a formless film, a non-literary, non-musical, picture film that doesn’t tell a story, become an abstract dance, or deliver a message. A film with no escape from the pictures. A film where words are pictures or sounds and skip around the way thoughts do. An experience itself like eating, looking, running, like an object, a tree, buildings, drips, and crashes. A film that instead of making sense is sense. Because it’s a picture film it might combine reason and kite flying and torpedoes and golf. People can talk in it. It can turn on and turn blue and turn off.
A film on the level of the artist’s imagination which stays there. A moral film. A film that looks like the man who made it.
Hurray also for the big pink bubble gum cloud, the powdery puff dream of millionaire tuxedo cinema where illusion’s illusion. Hurray for wide-screen, big-boobie cinema. Hurray for the fake dream that’s as real as the long wet french kiss in the balcony.
Hurray for movies that we can see are movies and hurray for movies that aren’t movies and hurray for style. Hurray for me.

—Robert Breer, Film Culture, Winter 1962

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