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I recently noticed a new book on Amazon entitled, Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000 by Steve Seid. The end of this title spoke volumes - "1945-2000".

The book is available only for "pre-order". Meaning it hasn't even been released yet, which assumes the writing is fairly recent. Thus the glaring absence being: what about the last decade? If you're going all the way back to '45, why not bring it in as current as possilbe, say, at least, 1945-2005, making it a full 60 years.

This glaring absence is of particular note due to the obvious non recognition that has occurred in regards to alternative film and video of this last decade. And it is not specific to San Francisco.

The book seems to be compiled of various authors, each contributing a section based on their expertise/experience. Some authors are divided into specific years, i.e "Cecilia Dougherty on video in the 1980s and 1990s". Yet that's where it stops for decade coverage.

The cut off date for this book is possibly, if not likely, the result of the following: A lack of not being able to properly define the last decade of alternative cinema.

Up until the late 90's it was easy. The formula was the same. The establishments were in place. In order to find out who's (supposedly) relevant you look to see who the festivals are playing, who's being written about in the usual avant circles, who's getting the grants, who's being recommended by who, etc., etc.

But then with the late 90's into the '00's came digital video. The old guard became confused, resistant. Video art was threatened by mounds of new work coming down the pike, many of which blew away what the established video artists had made, were making. The experimental festivals refused to show digital, and contributed to fueling the infamous online "film vs. DV" debate, swearing that this DV thing was just a fad, wouldn't last, couldn't hold up to quality issues and so forth.

Of course, they were completely, and embarrassingly, wrong. DV not only lasted, not only produced amazing quality works, but gave birth to the even better HD video. This denial held back many alternative works from being seen and recognized.

The 2000's then brought another cluster bomb - online video. Now work could be seen online and viewed by hundreds, even thousands, potentially millions, as opposed to the at best 30-100 people an experimental screening would seat. This completely new, incredible shift in alternative film and video art viewing was another confusion for the nostalgic old school avant clans who thought if they just ignored it, it would go away. But again, they needed to state their 2 cents:

"It's just a fad". "No one is going to watch films on their computer." "It's too slow and the quality is much too low".

Of course, they were completely, and embarrassingly, wrong. Watching media of all type from computers grew enormously. The speed increased to the point of zero download time. And the quality improved dramatically, with even YouTube now having an HD option.

Many of the already established alternative film and video artists heavily dissed sites like YouTube at the time, refusing to sign up for a free account while acting as if they were somehow "above it all".

Of course today they all have YouTube accounts, and are posting their work online.

The technology basically blurred everything. The so called avant garde alternatives from all corners were no longer the "ahead of the curve" counter currents they sometimes high browed themselves as being. They were stuck in nostalgia land, unwilling to move forward and redefine the avant garde.

They didn't know how how to deal with it (and still don't). Their denial, their fumbling around resistance and refusal held everything back, creating for perhaps the first time in cinema history a blank page for an entire decade in regards to the recongnition of new alternative works.

The best anyone could come up with as far as "a movement" of people working in alternative/avant garde DV cinema in this last decade, was the "mumblecore" movement. Again, that being the best that is being represented speaks volumes on the lack of effort from the alternative corners to discover, push and promote the new amassing works of alternative cinema that was gushing out from the cracks.

There's differing blame to go around, but a lack of alternative works is certainly not to blame. Such an inevitable excuse will emerge, perhaps from curators claiming their snail mail submissions had dropped, of course having no clue as to why.

It's been the complete opposite. Avant garde has grown. It's the old guard AG boredoms who've withered away in their nostalgia. Their pomp and film fetish arrogance no longer relevant. Their track record smeared with "wrong, again!". And their particular blame likely to go down unnoticed, just as the last decade goes down unnoticed; unable to be defined. Unable to find an author to tackle that '00-'10 period which likely created five times the visual works than the alt cinema of '45-'99, combined.

Ferguson Ulrich writes for and curates work online at http://AbsurdistVideoArt.com

The new avant garde working in the absurdist video vein is represented at
http://AbsurdistVideoArt.com for more.

15 Points to Keep in Mind While Choosing a Film School

1. Infrastructure – The first thing that separates a good film school from run of the mill film schools is the infrastructure. The classrooms, the studios, editing rooms, sound mixing studios, outdoor shooting facilities, library, computer labs and film screening facilities are the primary requisites of a film school.

2. Faculty – Of course the quality and experience of the faculty members are important for any educational institution and there is no exception in case of the film schools. Efficient faculties will always make the difference as you will be learning the art and science of film making from them.

3. Equipments – Film making is a craft where you need hands on training for effective learning. That is why the equipment like camera, sound systems, editing machines, everything should be available with a film school.

4. Comprehensive Course – The courses at the film school should take care of every aspect that is important for film making. It is not that the acting schools will teach only acting for the aspiring actors and camera techniques to those who are studying cinematography. The course should cover all the areas of film making that will give the students a comprehensive idea.

5. Options of Courses – The film school should have different courses for different functions of film making. The courses should include film direction, film acting, film editing, sound engineering, art direction, cinematography, script writing and so on.

6. Contemporary Curriculum – The curriculum of the institute should be in tune with the best film schools around the world. The courses should incorporate contemporary style of film making and latest techniques that are being used globally.

7. Association with Industry – The institutes should have close ties with the film industry. Thereby the students will get the chance to learn from the people who have the first hand experience of making film.

8. Diploma Films – The diploma films produced by the film schools is another deciding factor of the quality of education that the institute provides. So before selecting a film school one should carefully study the diploma films and the chances of making films at the institute after successfully completing the course.

9. Alumni – The alumni of any institute speaks a lot about the standard of learning facilities at the institute. So, you should try and find out how the past students have done after leaving the institute.

10. Film Archive – The film archive of the film schools are very important as that will give you a chance of seeing as many films as possible. When you enroll with a film school that has well stocked film archive you get a comprehensive idea of the world cinema.

11. Production Facility – The production facility of the film school should be of professional standard equipped with latest and finest machinery. It will let you learn the fine points of film making right at the school and you will ready to work professionally right from the first day after you leave the institute.

12. Short Films – The institute should have proper infrastructure and ambience for making short films and should promote the films at different film festivals that will eventually help you showcase your work.

13. Further Studies – The institute should have scope of further studies in the fields of film making and acting. The acting schools should have the advanced courses like master degree and PhD courses that will eventually help you make it big in the field of film making.

14. Student Exchange Programs – The scope of student exchange program with other acting schools and international film schools will give you the much needed exposure to international film education and technologies.

15. Career Opportunities – The institute should have proper infrastructure and network to help the students in their career. Whether it is promoting the diploma films of the students or arranging campus interviews, the film school should provide a platform to launch the new talents.

About the Author

Asian Academy of Film Education is a premiere film school in India. For more than a detail the institute has been providing quality film education and produced thousands successful film technicians and actress who are successfully working in entertainment industry.

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Ph. : 95120-2515254, 2515255, 2515256.
Fax. : 95120-2515246
Website – www.aaft.com

Should I remove the clear plastic film that is on the back door (glass area) of my relatively new microwave?

Im cleaning my 1 year old microwave for the first time (its not heavily used to begin with) and I noticed that as I was washing the inside/back of the door there appears to be this plastic film on the inside..almost begging to be pulled off. But its only on the glass..and it fits perfect on the glass. Anyone have any ideas whether or not I should remove this plastic film?

This is to protect the glass from scratches etc till you get it home and remove the plastic. Yes remove the plastic

From Belen to Hollywood and back, Sachs shares her film expertise
Kara (Karen) Sachs of Belen tried college, but it just wasn't for her.

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