Joseph’s work exists in a universe with similar laws. We work on the other side of time,” Sun Ra says on the intro to his career-defining film. “Equation wise, the first thing to do is to consider time as officially ended. can be read as a 21st century imagining of Sun Ra‘s Space Is The Place. Like most of Joseph’s creations up to this point, m.A.A.d. Images of lynching and state-sponsored violence grow increasingly poignant, conjuring up contemporary scenes of the police officers and their dogs that have been facing off against Mike Brown supporters in Ferguson, Missouri this week. carries on many themes that are recognizable in his past work: the film is a dreamlike sequence, featuring alternating extended shots interspersed with frenetic, rapid fire bursts of portraits of black life in America (here, vignettes of everyday people around Compton, clips of lynchings and police brutality, and actual home footage from Kendrick’s childhood) and audio experimentation (such as rotating vocals and the juxtaposition of silence vs. premiered at the Ace Hotel in downtown Los Angeles, as part of the Sundance Institute NextFest.Īs in at least two of Joseph’s offerings, South Central Los Angeles is backdrop and main character for his peculiar brand of cinematic production. Saturday night, the Kendrick-commissioned, Kahlil Joseph-directed, Flying Lotus-scored short film m.A.A.d. The album that was made to be consumed as a cinematic experience now has the visual counterpart it demands.
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