Cellular Cinema

In this Conversation, we discuss Mike's films Travel Stop (2017), Slow Volumes (2019), and The World of Facts (2018). Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work. Over the past decade, he has completed two narrative features (Finally, Lillian and DanandWorld of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous cinemas and festivals around the world, including the Toronto International Film Festival, the International Oberhausen Film Festival, the Harvard Film Archive, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. mikegibisser.com [http://www.mikegibisser.com/]

A discussion of competition and conflict in the experimental community, power dynamics and class struggle in the film festival landscape, celluloid purists (pro and con), and much more! Scott Fitzpatrick is a visual artist (Libra) from Winnipeg whose film and video work has screened at underground festivals and marginalized venues worldwide. He obtained his bachelor's degree in Film Studies at the University of Manitoba and began conducting lo-fi moving image experiments in 2010. https://vimeo.com/artbarbarian

Experimental filmmaker Carl Elsaesser, currently based in Maine and Minnesota, discusses his recent work, including Itinerary of Surfaces, The Misbehaving Image, and Exercises in Resistance. http://carlelsaesser.com/

You can find examples of Hannah's work here: https://vimeo.com/hpb Adroitly choreographed and cleverly edited, Hannah Piper Burns’ videos are brainy but for the body. Reflecting and refracting the spells and charms of popular culture, her work is seductive and unrelenting. Fluent in the languages of pop music, dance and reality television, the works are crisp and communicative, political in their poetics and personal in their polemics. Their tautness and rhythm uphold what music videos promise and all too rarely deliver: a multisensory re-envisioning of the bodily and intellectual experience of music. Writing by HPB: https://www.hannahpiperburns.com/copy-and-content More about Cellular Cinema: http://www.cellularcinema.org

Kelly Sears on Vimeo [//vimeo.com/kellysears/] In this conversation, we discuss The Drift, Once It Started It Could Not End Otherwise, and Pattern for Survival. Kelly Sears uses experimental animation techniques to create hybrid works that draw on fiction and documentary storytelling, recasting American archetypes and institutions to reimagine our own social and political legacies. She transforms an extensive trove of source materials, such as first aid handbooks, chronicles of space exploration, presidential and military newsreels, 35 millimeter photography manuals, aerobic and yoga guides, archival films, high school yearbooks, and disaster survival guidebooks, into new instructional and advisory texts that may lead the viewer astray and disoriented. Through these animations, we glean bits of history that are recognizable but unsteady.