My cousin, Aeros, graduated from the Boston Museum School some years ago. She took a good number of film classes while she was studying various mediums (primarily installation and horticultural art) while she was seeing a film student (and now accomplished artist and professor) Cliff Evans. Many of these fantastic classes were taught by filmmaker Abigail Child, who's work I fell in love with while interning at the Filmmaker's Co-Operative in NYC. Aeros was kind enough to pass along some of the course reader's she had kept from her classes with Abigail, right before I left for Prague.
These readers are comprised of seminal texts from situationists, futurists, sound-theoreticians, marginalized feminists, towering film theorists and post-modern critics, creating a sort of penultimate discourse that is of course fucking painfully tautological, seemingly incongruent, wildly erratic in style, and only culminates in that sort of "french argument" system wherein one must tarry a wide loop before finally reaching an understandable thesis.
But, take my word for it, the loop is undoubtedly well worth it. Jeepers, I would have loved to have taken these classes myself. The same style of argument she uses to assemble her syllabi is what, in my opinion, makes her filmmaking such a brilliant example of cinema as disputation. The complexity of her sprawling structural montage of found-footage is as rich as each of these readers I was lucky to get from my lovely cousin to take with me to Prague...
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