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Jean-Claude Mocik, was born on February 9, 1958 in Livry Gargan. He is a filmmaker, video director, a director and teacher.

Jean-Claude Mocik
Jean-Claude Mocik in 2012, photo Sara Holt
Born
Jean-Claude Mocik

(1958-02-09)9 February 1958
Livry Gargan, France
Nationality France
Known forDirector

Chronology


After studies of cinema and broadcasting in Paris VIII University, Jean-Claude Mocik worked with Pierre Jolivet : Strictement personnel (1985), Le complexe du kangourou (1986) and Jean-Pierre Mocky : Le Pactole (1985), La machine à découdre (1986). Then he became assistant-director of Jean-Paul Jaud : SOS Charlot (1983), La Marseillaise (1989). He realized fictions : Piste (1980), Moco Fictions(2007), documentaries : Théatre, Ecole Créativité (1982) and Looking For Beethoven ( 2012 ), experimental films : Paris Figure Simple ( 1986 ) and Nyc Nac Solo (1989[1]) and videos : Correspondance avec Jean-Luc Godard (1985) and Laos Noblabla (2011). At the same time, he developed visual prototypes such as Switcher Video Band. From 1985, he is particularly drawn to new technologies. He joined the Ars Technica Association connected to the Cité des Sciences et de l'Industrie uniting philosophers, artists, scientists such as Piotr Kowalski, Jean-Marc Levy-Leblond, Claude Faure, Jean-Max Albert, Sara Holt, Piero Gilardi, reflecting on the relationship between art and new technologies. In 1989, Dominique Noguez recommended him for the 1st Biennial of Contemporary Art of Barcelona. He showed a video installation in 12 TV monitors arranged in pyramid. In the 90s, he was considered one of the precursors of HDTV beside Jean-Christophe Averty, David Niles, Zbigniew Rybczynski, Jacques Barsac, Pierre Trividic, Hervé Nisic. He produced and realized experimental programs such as Dix-neuvième[2] for Canal+. In 1991, uniting his activities of R&D in audiovisual media conception, he created jcMCK, his own production company. In 1992, the Centre national d’art et de culture Georges-Pompidou showed his experimental movies and videos at the Cinéma du Musée curated by Jean-Michel Bouhours. Beside Catherine Desrosiers, Catherine Beuve-Mery and Maurice Séveno, Jean-Claude Mocik participated in the CICV of Belfort Montbéliard, with the conception of an interactive TV program. In December, 1993, at the request of the 35mm laboratory Les 3 Lumières, he inaugurated Switcher Vidéo Band, an experimental multicameras captation in Le Palace, Paris. In 1994, he left one of the main cooperatives of experimental films in Paris, Light Cône,[3] and made the decision to broadcast his experimental movies and video tapes exclusively thru his personal workshop.[4] Recommended by Olivier Bontemps and Christophe Valdejo, two art directors of Gédéon and founders of the agency View, the Italian photographer Oliviero Toscani offered him, in 1995, the management of the department Cinéma-Vidéo of Fabrica,[5] the Research center on the Communication of Benetton, based near Venice. In November, 1996, Fabrice Michel and Alain Josseau[6] invited him to Toulouse to conceive and present a video installation entitled Video Solo in reference to his movie Nyc Nac Solo, shot in 1989 in New-York.[7][8] L’Atelier de Recherche d’Arte regularly broadcasts his films and vidéos. As a TV director, Jean-Claude Mocik collaborated on numerous programs broadcast on diverse TV channels: Paristroïka, produced and broadcast by MCM Euromusique, Tout Paris for Paris-Première, L’Atelier 246 for FR3, Court Circuit,[9] produced by MK2 broadcast by Arte. He created concepts of documentary series of which Le Travail en questions,[10] a collection of 10 × 52 min animated by Ariel Wizman and Francis von Litsenborgh,[10] were broadcast on La Cinquième. Since 2006, he is in charge of an educational department of Conception, Writing and Directing within the Pole of Education and Research of INA.[11] In 2007, he wrote the screenplay and directed Moco Fictions a visual film essay completely shot with a robot. In 2013, he filmed in Vienna, Austria, Looking For Beethoven,[12] a documentary film on Belcea Quartet for TV Mezzo and for a German music channel Unitel Classica. In February, 2014, at the request of Paul Ouazan, he contributed to a project entitled Le marcheur,[13] broadcast on Arte Creative.[14]


Research


Very early, Jean-Caude Mocik identifies himself in filmmaking as a "rhythmmaker" director. If scenes and sequences are generally imposed by the scenario and its narration, rhythmmaker or metric cinema assumes to be indifferent to subject and story.[15] Images and sounds are detached from any production of meaning ; they are exclusively dedicated to a rhythmic layout where visual and sound elements are used as material for durations, rates, frequencies, times and cycles. A process is established with the aim of collecting visual dynamics in a structured composition. From shooting to editing, all cinematographic resources are considered a priori sources of rhythm: axes and camera movements, lenses, editing, are thus subject to constraint through a rhythmic system (similar to music, metric or not), which offers unusual compositions on screen. Framings or pans, which are usually led by the movement of a character, are pre-set here: regardless of whether this character stays in the frame or not.[16]


Experiments


His work as a rhythmmaker artist implies progressing over very long periods, like daily shots with a film camera for over 30 years, (Séries circadienne[17]) or using 2 video cameras, shooting every two weeks at noon sharp, in the imposed itinerary at the gates of Paris, (Midi pile[18]). These projects, initiated in January 1994, continue today. Once a month in his workshop, projections that are held. His experimentations delve into his personal archives of films and videos, stored over time, in order to compose visual and sound arrangements specific to each session. The result is a kind of palimpsest in permanent mutation. The projection itself becomes form.


Filmography



Films



Video



TV



Exhibitions, installations, performances



Projections and broadcasting of experimental films and videos



Notes and references


  1. Yumpu.com. "fevrier-mai-1994-centre-georges-pompidou-centre-pompidou". yumpu.com.
  2. "Dix-neuvième". collections.forumdesimages.fr.
  3. "Light Cone - Distribution, diffusion et sauvegarde du cinéma expérimentalATELIER 105: APPEL À PROJETS DEUXIÈME SESSION 2019". lightcone.org.
  4. Obliques, Librairie. Paris cinéphile - Gilles Renouard - Parigramme – via www.librairie-obliques.fr.
  5. "Home". fabrica.it.
  6. "Le blob, l'extra-média".
  7. "NYC Nac Solo | fr - ARTE". Archived from the original on 2015-09-24. Retrieved 2016-01-16.
  8. http://nelsonsullivan.com/press/ARTEweb.pdf [bare URL PDF]
  9. "Dominique Noguez | Court-circuit - le magazine du court métrage | Cinéma | fr - ARTE". Archived from the original on 2015-09-24. Retrieved 2016-01-16.
  10. "Archived copy" (PDF). Archived from the original (PDF) on 2015-09-25. Retrieved 2016-01-16.{{cite web}}: CS1 maint: archived copy as title (link)
  11. "Formation professionnelle conception, écriture, réalisation - cours script - Ina". www.ina-expert.com.
  12. "Accueil". Archived from the original on 2016-01-14. Retrieved 2016-01-16.
  13. http://creative.arte.tv/fr/labo/le-marcheur/birmanie-rangoun-0%5B%5D)
  14. "Accueil | ARTE Creative". Archived from the original on 2016-01-18. Retrieved 2016-01-16.
  15. "L'Artiste est mort, vive l'artiste ! | ArtsHebdoMedias". Archived from the original on 2016-03-03. Retrieved 2016-01-16.
  16. Elisabeth Jenny, Les conceptions du montage, CinémaAction N°72, 3ème trimestre 1994
  17. "Jean-Claude Mocik videos". Dailymotion.
  18. "Midi pile, 25ème cycle, porte de Saint Cloud". Vimeo.
  19. http://catalogue.bm-lyon.fr/?fn=ViewNotice&q=0001493001 [bare URL]
  20. Jean, Yves (24 April 2013). Les Victoires de Poulidor. Arthaud. ISBN 9782081304246 – via Google Books.
  21. "ARTE, dimanche 20H45. L'épopée de la Grande Boucle, des portraits de Poulidor et d'Indurain... L'histoire par cycles du Tour de France". Libération.fr. 29 June 1996.
  22. "animé par Ariel Wizman".
  23. "Paris Pong". www.festival-emergences.info.
  24. "Djeff Regottaz". www.festival-emergences.info.
  25. "Eventi".
  26. "Tiến lên miền nam download_Mở cửa thị trường du lịch Việt-chỉ lưới thô ngắn ngủi". Archived from the original on 2016-03-03. Retrieved 2016-01-16.
  27. 4e Festival International de l'Avant Garde
  28. 4e manifestation internationale de vidéo & télévision, intermedia
  29. Programmation Yann Beauvais, Light-Cône
  30. Université Paris 1 - Panthéon - Sorbonne, Direction et programmation: Dominique Noguez
  31. "AFEA/cineastes.net". www.cineastes.net.
  32. French Avant-Garde Film-Series, Program No.1, programmation: Howard Guttenplan
  33. Dépêche AFP : Vend Janv 12 14:26 1990, 0292 FRA /AFP-XW50, Courrier du cinéma
  34. Produire et réaliser en Vidéo Haute Définition et La Nuit de la HD, avec le soutien du C.N.C. et de la PROCIREP Télévision
  35. The French Avant-Garde in the 1980s, AGO, Toronto, Canada
  36. "Une histoire d'amour qui dure - La Cinémathèque québécoise". www.cinematheque.qc.ca.
  37. Cinema, Senses of (3 May 2000). "Jeune, dure et pure ! Une histoire du cinéma d'avant-garde et expérimental en France".


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