September 22 2010

No Reading After the Internet
September’s Reading: The Tracking Shot in Kapo by Serge Daney

Wednesday September 22 2010

VIVO

1965 Main Street,
Vancouver, BC

7pm,  Salon (Free)
Facilitated by Alex Muir
Co-Presented with VIVO

No Reading After the Internet is a monthly opportunity to gather and read a text aloud in hopes that it might provoke theoretical illumination on particular art works, or the broader scape within which such work exists. This program departs from Cineworks' Thought on Film series, conceived by Cheyanne Turions. Whilst still very interested in cinema, the focus of this incarnation is softened to accommodate the more broad (and ever expanding) scope of media art.

The idea of a reading group isn't new. No Reading nonetheless poses itself as an experimental learning and discussion space. Simply put, we are suspicious of our own reading abilities, and the extent to which our readings are conversant with one another. No Reading means to offer a slow space within which to retrace our steps in the hopes of discovering individual and collective ways through the realms of language and interpretation. The strategies we have at our disposal are twofold: through the yoking of our discussion to a text; and inducing conversation, where possible, between text and specific, local, contemporaneous art discussions and happenings.

Participation in No Reading After the Internet is free and open to everyone, regardless of his or her familiarity with a text or its author. Texts will be handed out at the gathering. No pre-reading or research is required. If you are interested in previewing a text, please contact (JavaScript must be enabled to view this email address) for a digital copy.

September’s Reading
Serge Daney was one of the most reputed French film critics of the modern era. He wrote extensively for the Cahiers du Cinema, Liberation, and Trafic, but has only recently had any of his writings available in English. "The Tracking Shot..." is at once an autobiographical sketch of Daney's coming-of-age as a cinephile and an elaboration of his vision of the history of cruelty and the gaze as it pertains to 'post-war' or 'modern' cinema. The text makes use of Gillo Pontecorvo's Da Kapo, Alain Resnais' Night and Fog, Kenji Mizoguchi's Ugetsu, and Hitchcock's Psycho.