Digital Histoire(s): The Cyber-cinema of Evan Mather

A lot of attention has been garnered as of late by Jonathan Caouette’s 120-something dollar magnum opus, Tarnation (2003), which he cut together from a miasma of his own home movies using Apple’s consumer-level iMovie program. I’ve not seen Caouette’s film as yet, and so am not really in the place to talk about it (although these comments have less to do with the film’s supposedly remarkable content than they do with its “revolutionary” production methods anyway), but I can’t help but feel slightly jaded to think that Caouette’s been We can gossip in chat rooms cheapest cialis without the guilt of having betrayed a friend. You experience fatigue easily and have little drive viagra sales australia for physical activities. Even if you have impotence issue, you can potentially misuse a phosphodiesterase 5 inhibitor and enhance cardiovascular risks in several cases. canada cialis online Erectile Difficulties Another symptom that you swill find while being a patient of prostate cancer is about the disorder This is for all those men who have been suffering blood cell problems like Leukaemia or you are taking dietary generic viagra soft supplements. garnering so much attention when, for years now (at least since 1997 and most definitely since 1999), another filmmaker has been doing almost exactly the same thing in terms of a consumer-level low/no-budget methodology from his studio in Los Angeles. If Caouette has made a masterpiece using little more than his computer’s iMovie software, then the poet laureate of “cyber-cinema”, Evan Mather, has truly delivered the “magnificent œuvre” suggested by Brenez and made possible by the DIY-moviemaking boom and the internet.

Read the full article at Senses of Cinema.