La sonrisa de Arshile

Egoyan, A. (1995). La sonrisa de Arshile. Banda aparte. (3):24-28. http://hdl.handle.net/10251/42154.Importación Masiva2428

The Alterity of the Image: the Distant Spectator and Films about the Syrian Revolution and War

Images of the Syrian crisis, circulating on the international film festival circuit as well as in mainstream and social media, help to construct narratives about those events, people and places. This article explores how three Syrian documentaries – Silvered Water: Syria Self-Portrait, The War Show and Little Gandhi – appeal to their distant spectators and how the international film festival circuit shapes their aesthetic form. While the use of citizen videos in news reporting has generated a sense of familiarity with the audio-visual style and iconography of Syrian conflict imagery, these films invite us to look at their footage in a different way, foregrounding an experience of cultural distance through an emphasis on the formal qualities of the image. By focusing on the aesthetic rather than merely evidentiary qualities of these documentaries, I draw out a particular kind of transnational cinematic encounter in which, to borrow John Berger’s words, ‘meaning is a response not only to the known, but to the unknown’. Drawing upon the work of Berger and Laura Marks, the article offers a new conceptualization of distant spectatorship in terms of the alterity of the image

Speaking Parts

"This comprehensive volume brings together the complete script of Speaking Parts with facsimiles of Egoyan's production notes and sketches, a new essay by Egoyan and a new interview with the director, an introduction, and a filmography, creating an intimate and illuminating view of the filmmaker and the filmmaking process." -- Back cover of document

alumni UBC – Master Mind Master Class with Atom Egoyan

Webcast sponsored by the Irving K. Barber Learning Centre and hosted by alumni UBC. One of the most respected filmmakers of his generation and a true artist, Atom Egoyan is the director behind modern classics such as Exotica, the Oscar-nominated The Sweet Hereafter, Ararat, and Chloe. A master of visual and verbal storytelling, Egoyan takes bold non-linear routes through complex psychological terrain in his films. Please join us for a very special evening in celebration of the 50th Anniversary of film classes in UBC’s Department of Theatre & Film where Atom Egoyan will share how he tells compelling stories in Canadian film and a rapidly changing industry, and why bold film-making has never been more important than it is in our current global political climate. In his films, Atom Egoyan—an Egyptian-born Armenian-Canadian—often returns to common themes of intimacy, displacement, and the impact of technology and media on everyday life. His ability to understand and inspire teams of highly talented but disparate people is critical to tackling these subjects and to producing his unique vision. Egoyan’s keen ability to blend insightful stories that don’t fear being complicated with universal human themes has resulted in a daring body of work, popular with critics and audiences alike. Egoyan has collected prestigious awards from Cannes and the Toronto International Film Festival, acted as President of the Jury at the Berlin Film Festival, was knighted by the French government, and received Canada’s top civilian honour, The Order of Canada. From 2006 to 2009, he was the Dean’s Distinguished Visitor in theatre, film, music and visual studies at University of Toronto. Egoyan has been Distinguished Scholar-in-Residence at Ryerson University since 2013.Non UBCUnreviewedOthe

Nocturnal

Nocturnal is collaborative installation I made with film maker Atom Egoyan. Commissioned by Aldeburgh music, this is a site specific piece using a 17.4 channels audio system I designed myself, video projection and a camera obscura mechanism to transfer the moving image from one space into another