Word: beibinã
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Beibin, the organizer of many experimental film, music and performance art showings, prefaced the event by noting that some films were the first or only productions of those filmmakers. This served as part-disclaimer, part-mission statement, as Beibin??s purpose is to find the “punk” energy in new, unusual work that might not otherwise find producers and distributors. “I like to call them emergency films,” he explains. “They wouldn’t have been created without a sense of crisis...
...antagonisms between independent and commercial filmmaking is one of Beibin??s main concerns. He attempts to use his film festivals and distribution companies, Evil Twin Booking and Bloodlink Records, to “reach places that independent film doesn’t reach.” Utilizing his “do-it-yourself roots” he attracts a raw clientele and helps distribute their work without the “frustrations” of the impenetrable commercial industry. Beibin claims that this grassroots approach has successfully brought unusual and socially conscious work into the limelight...
...Beibin??s film festival experience started as a product of suburban teenage angst, as is typical of the punk scene. In 1999, seventeen-year-olds Skot Beaudoin and Mike Carroll proposed a mix of films and bands in a baseball field in their hometown of Doyleston, Penn. When the mayor denied them a permit, the group relocated the event to West Philadelphia, Beibin??s home, and the Lost Film Festival was born...
...clip of a man in an ambiguous animal costume shouting to visitors at the 2005 presidential inauguration---they were fresh and a clear break from the mainstream. Though the scattered selection eschewed the finesse of commercial filmmaking, the festival nevertheless stood steadfastly by the pure punk spirit of Beibin??s vision...
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