I. Mind and Machine: Jesse McLean and Alain Resnais

I. Mind and Machine: Jesse McLean and Alain Resnais

Jesse McLean, See a Dog, Hear a Dog (still), 2016.

This Was Tomorrow

I. Mind and Machine: Jesse McLean and Alain Resnais

Admission starts at $5

July 16, 2024, 8:30pm
172 Classon Avenue
Brooklyn, NY 11205

Join us at the e-flux Screening Room rooftop for Mind and Machine, the first of the four-part series This Was Tomorrow, presenting cinematic visions of the future that illuminate and comment on our present-day realities.

The films and videos in this series challenge common perceptions of time, identity, technology, and community, in a curated selection that invites thoughtful reflection while also promising entertainment. Each evening will present a thematic pairing of an artist film(s) with a cinema feature, showcasing the diverse and innovative possibilities of science-fiction storytelling.

Screenings take place on Tuesdays and Thursdays from July 16–25, 2024, and begin after sunset.

I. Mind and Machine
Tuesday, July 16, 8:30pm

The films in this screening explore how technology shapes human experiences, perception of the world, and ethical considerations, reflecting on the limits and potentials of communication, memory, and identity.

Jesse McLean, See a Dog, Hear a Dog (2016, 18 minutes)
See a Dog, Hear a Dog examines the evolving relationship between humans and technology. The film juxtaposes a voice synthesizer recounting its own limitations with footage of dogs being trained and observed, highlighting the disconnect between intent and communication. Through this, McLean explores themes of artificial intelligence, human-animal relationships, and the imperfections of communication technology.

Alain Resnais, Je t’aime, je t’aime (1968, 94 minutes)
Je t’aime, je t’aime follows Claude Ridder, a man recovering from a suicide attempt, who is selected to participate in a time-travel experiment. Instead of a brief journey, he experiences fragmented episodes from his past, exploring themes of memory, regret, and the nonlinear nature of time. The film combines elements of sci-fi with a deep psychological narrative, highlighting the complexities of human experience and technological intervention.

For more information, contact program@e-flux.com.

Film, Technology, Psychology & Psychoanalysis
Experimental Film, Video Art, Memory, Animals, Artificial intelligence, Science Fiction, Time
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This Was Tomorrow

Jesse McLean has dedicated her creative research and art practice to exploring what it is to be human in relation to what is not. Her films reveal the deep intimacies and connections formed through these relationships and contrast the finite capacities of the nonhuman with infinite human desires. She has presented her work at museums, galleries, and film festivals worldwide, including the CPH:DOX in Copenhagen; New York Film Festival, NY, NY; International Film Festival Rotterdam, Netherlands; Venice Film Festival, Italy; Kassel Dokfest, Germany; Impakt Festival, Netherlands; First Look Festival, NY, NY; Imagine Science Film Festival, NY, NY; Internationale Kurzfilmtage Winterthur, Switzerland; Yebizo Festival of Art + Alternative Visions, Tokyo, Japan; EXiS, Seoul, S. Korea; Mumok in Vienna, Austria; and Green Gallery, Milwaukee. She was the recipient of an International Critics Prize, (FIPRESCI Prize) at the Internationale Kurzfilmtage Oberhausen, and a Jury Prize in the International Competition at the 2013 Videoex Festival in Switzerland. She was a featured artist at the 2014 Flaherty Seminar and a MacDowell Fellow in 2016. In 2016 she was selected for a Mary L. Nohl Individual Artist Fellowship and was a fellow at the Center for 21st Century Studies. She is currently Professor and Chair of the Department of Film, Video, Animation and New Genres within the Peck School of the Arts and University of Wisconsin-Milwaukee, one of the leading film programs devoted to supporting cinematic arts in the US.

Alain Resnais (1922-2014, France) was an editor and filmmaker, considered as one of the founders of the French New Wave cinema. He started making 8mm flms at the age of thirteen, and later attended L’Institut des hautes études cinématographiques (IDHEC) where he trained as an editor, later working as a professional editor until the late 1950s. He began his career making short documentaries, including Van Gogh (1948), Guernica (1950,) and Statues Also Die (1953). He gained worldwide recognition with his first and second feature films, Hiroshima mon amour (1959) and Last Year in Marienbad (1961). He is also known for My American Uncle (1980) and On connaît la chanson (1997). Recurring motifs in his films are memory and unconventional concepts of time.

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