Earth, Milky Way: punctum books, 2017. 238 pages, illus. ISBN-13: 978-0-9985318-0-9. OPEN-ACCESS e-book and $40.00 [€37.00/£35.00] in print: paperbound/7.5 X 10 in., full color.

In this book, we see Lafia take up cinema — its history, its grandeur, its rules — and apply the conditions of this new, ubiquitous, always-on recording world in order to forge and proffer something new, something relevant, something beautiful: a cinema of the everyday that is anything but everyday. A cinema that is extraordinary.

~ Daniel Coffeen

How can the cinema and film form be thought anew in a world that is always recording itself, that enfolds the cinema? For Marc Lafia it is precisely this everyday environment of pervasive recording that becomes a springboard for rethinking character, narrative and the cinema itself. Lafia imagines the world as a film set and cinematic recording a platform to express and reformulate the will to expression of the social media generation. If our social media world, though public, is mostly personal, it’s the personal in search of collective forms that his narratives speak to as he re-situates them in the language and convention of cinema. Lafia’s films forge a cinema contemporaneous with the new environment of recording, creating a space to resuscitate an examination of our intentionality in imaging and storytelling both for his participants and audience, urging us not only to have poetic lives but political and embodied ones.

~ Lior Rosenfeld

Everyday Cinema: The Films of Marc Lafia

Read an Excerpt from Everday Cinema Here!

Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27)  Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new.

Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine.

With a Preface by Daniel Coffeen.

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