Film Food Footnotes II

"The screen on which we watch a movie is a plate. If it's a small screen, do you get a single serving of memory? If it's a large screen, do you host a feast among friends? If it's a private screen, are you a glutton? If it's a free screen, do you glean and share?

This book is also a plate, its creation and each component an nourishing exchange. The second of its kind, this is a publication about food in/and around the movies. The book investigates food-moments in select films. The food-moments are highlighted by food-images. The film food-images are accompanied by film food footnotes. The footnotes span close reads, brief encounters, critical responses, and tangential thoughts—writings in which we, viewer-eaters, digest the visual ingredients offered up to us.

A movie is a meal, a site in which we correspond and coalesce. Do you eat hastily or at leisure? Do you make careful not of the flavors? Do you think of its preparation?"

28pp, 5 1/8 x 7 in, two-color Risograph, loop-stapled, 2017. Edition of 120. filmfront press in collaboration with Imani Jackson from Conjugation Press. Violet / Sky Blue.






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Film Food Footnotes I

"This is a publication about food in the movies. The book aims to investigate "food-moments" in select films. The food-moments are highlighted by food-images. The film food-images are accompanied by film food footnotes. Footnotes span personal memory, half-baked research, fragmented biography and writings internal to and surrounding the food-moments.

This book of morsels acts as an archive of a series of conversations held by a group of five over the course of a month. We met over mandarins, tea and other meals, gleaning our ingredients and beginning a stew. It was a unique, fragmented approach that we hope will be suggestive, though not definitive in nature. Suggesting ideas, pointing in all directions, appetitive and decidedly un-theoretical.

Why should food be theoretical anyway? Would the attempt to make it theoretical be futile? You'd eat your own words.

The films in these pages appear in the following order: Sicilia!; Still Life (Sam Taylor-Wood); Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles; The Gleaners and I; Bicycle Thieves; Still Life (Jia Zhangke); and Earth."

24pp, 5 1/8 x 7 1/2 in, two-color Risograph, loop-stapled, 2017. Edition of 120. filmfront press in collaboration with Imani Jackson from Conjugation Press. Pink (Sold Out) / Yellow.






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La Machina* & Metaphor

"*cinema was machine born: gears, lightbulbs, cranks, friction, optics. somewhere in that mix of metals and mirrors, somewhere in the movement and composition, a rectangle was conceived of. the rectangle framed something more natural than itself. little machines created worlds of fiction. these worlds of fiction sometimes worked themselves back into abstractions, and a new language emerged out of metal and light. gears cranked, motors ran, the finger pressed record."

A reflection on the cinematic image and its endless permutations, LA MACHINA* & METAPHOR takes its name from factory workers documented in Patricio Guzman's seminal LA BATALLA DE CHILE. Just as these workers found ways to reassemble spare factory parts into what they called "machinas" (or machines just as equipped for a job as any foreign imports), the book's essay applies the spirit of reassembling to eras of cinematic creation and in the process enact an enquiry into the future of cinema.

22pp, 5 x 7 in, inkjet color printed with inserts, japanese stab-bound, 2016. Edition of 50. filmfront press.