Manuel DeLanda
История
Manuel DeLanda is a Mexican-American writer, artist and philosopher who has lived in New York since 1975. He is a lecturer in architecture at the Princeton University School of Architecture and the University of Pennsylvania School of Design, where he teaches courses on the philosophy of urban history and the dynamics of cities as historical actors with an emphasis on the importance of self-organization and material culture in the understanding of a city.
Sound
Image and sound by Manuel DeLanda.
Director
Image and sound by Manuel DeLanda.
Director
My take on New York City crowds. Some effects involve tracking individual faces and a lot of masking work, others use multiple slices of the same shot, offset a few frames, to stretch all moving figures in strange ways.
Director
Using multiple layers of the same shot and animating masks on each produces a wide variety of effects that fracture and distort the shot. These were used here for NYC buildings, to create a dissonant urban symphony. The music is classical piano pieces played backwards.
Director
An experimental film; a digitally filmed video distorted by custom made machine learning algorithms, creating generative fractured city landscapes.
Himself
With research that spans the work of philosophers Gilles Deleuze and Martin Heidegger to modern mythologies in which time reversal plays a crucial role — such as failed time machines, speed of light travel, and occult practices involving speech — Stracke combines science and philosophy in an attempt to defy death through cinema and the notion of time reversal.
Himself
Рассказ о двух «волнах» независимого кино, накрывших Нью-Йорк в конце 70-х. Представители первой группы кинематографистов назвали себя «Кино никакой волны», в то время как вторые были известны как «Кино в трансгрессии».
Editor
Joan Braderman talks about and appears in front of a projected version of DYNASTY.
Director
Insects are tortured in various ways amidst the sounds of screaming.
Director
Directed by Manuel DeLanda.
Self
A short survey of the small-gauge narrative film, beginning with the Kuchars' Sylvia's Promise (1962). Primarily focused on East Coast artists, the work of Eric Mitchell, Manuel DeLanda and Ericka Beckman is highlighted.
Animation
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Special Effects
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Colorist
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Editor
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Sound Editor
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Music Editor
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Art Direction
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Producer
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Director
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story.
Director
Once thought lost, but recently found and restored by Anthology Film Archives, artist/philosopher Manuel De Landa’s Super 8 Ism Ism captures his truly inspired collage mutations of New York City subway ads during the mid-to-late 70s. Slicing and dicing the perfect faces of models into deviant ghouls, Ism Ism turns the homogenate into the ripening rot of nightmares.
Director of Photography
The editing strategies parallel the personal relationships depicted, and a mismatched cut is literally only the other side of a mismatched couple. Rarely have sound, image and the spatio-temporal coordinates of narrative illusion been buffeted about so vigorously.
Producer
The editing strategies parallel the personal relationships depicted, and a mismatched cut is literally only the other side of a mismatched couple. Rarely have sound, image and the spatio-temporal coordinates of narrative illusion been buffeted about so vigorously.
Writer
The editing strategies parallel the personal relationships depicted, and a mismatched cut is literally only the other side of a mismatched couple. Rarely have sound, image and the spatio-temporal coordinates of narrative illusion been buffeted about so vigorously.
Director
The editing strategies parallel the personal relationships depicted, and a mismatched cut is literally only the other side of a mismatched couple. Rarely have sound, image and the spatio-temporal coordinates of narrative illusion been buffeted about so vigorously.
Director
The film consists of five different versions of the same scene.
Director
From the 1970s urban interventions on billboards, Ism Ism (1970), to his recent digital manipulation of digital footage, Manuel DeLanda keeps testing the rough edges of perception.
Director
The next chapter in the battle of effects versus porno.
