Episode 8: Jolt of the Cinematic Manifesto and French New Waves on the Beaches of Agnès

Cinesthesia 08 Original Broadcast March 7, 2024 RADIO PLAYLIST 1. Sleep / Some Grass (film: Gummo) 2. Seth A Smith / In The Woods (film: The Crescent) 3. Seth A Smith / The Sea (film: The Crescent) 4. Seth A Smith / Lost (film: The Crescent) 5. Namanax / The Medicined Man (film: Gummo) 6. Burzum / Rundgang Un Die Transzendentale Säule Der Singularität (film: Gummo) 7. Mischa Maisky / 17 Bach_ Cello Suite #2 In D Minor, BWV 1008 – 1. Praeludium (film: Gummo) 8. Adrian Copeland / The Wither and Wane (album: If This Were My Body) 9. Adrian Copeland / Sons of Our Fathers (album: If This Were My Body) 10. Adrian Copeland / Heir to the Ember Sun (album: If This Were Body) 11. In Depth Cine / How the French New Wave Changed Filmmaking Forever (clip) 12. Mischa Maisky / 17 Bach_ Cello Suite #2 In D Minor, BWV 1008 – 1. Praeludium (film: Gummo) 13. Adrian Copeland / Stars With No Sky (album: If This Were My Body) 14. Agnès Varda wins an honorary Oscar award in 2017, speech (clip) 15. Adrian Copeland / Rites of Sorrow (album: If This Were My Body)

A manifesto can sometimes precede film movements. The word manifesto came from the Latin manu festus—“struck by hand,” said Julian Hanna in The Atlantic. Performance is part of the manifesto’s materiality, its existence in the world,” he said. “The manifesto—“struck by hand”—has always been about striking gestures.”

He recalled Lars Von Trier scattering red leaflets printed with “Vow of Chastity” into the audience at a 1995 conference on the future of film. Object Lessons says, “Marinetti made art into a kind of Punch and Judy show, full of pantomime fisticuffs and bold, simple storylines: “Destroy the past, embrace the future.” From Dada manifestos in the Cabaret Voltaire in 1916 to the radical street theatre of the 1960s, one strikes a manifesto like a match. It strikes like lightning.