There's a brand new issue of Rouge, the first in almost a year. Here's a description from Adrian:
The long-awaited Issue 12 of ROUGE coalesces around the theme of the Archive. Vinzenz Hediger leads off with a proposal about film archives and cinephilia in the contemporary scene. American avant-garde filmmaker Jonas Mekas speaks of the archive he has collected, as well as the personal archive he has filmed. From Hungary, Péter Forgács speaks vividly about his practice of found footage cinema and its politics. Russian archives hesitate between fact and fiction in the recent film First on the Moon (analysed by Julia Vassilieva) and the New Zealand video Scuppered, presented by its maker Alan Wright. Harun Farocki’s cinema of montage and critique is surveyed by Christopher Pavsek. As well, there is an appreciation of Fatih Akin’s The Edge of Heaven by Yvette Bíró (author of the recently published Turbulence and Flow); an introduction to the Cinémathèque française Mitchell Leisen retrospective by Mark Rappaport; a tribute to the memory of Guido Mutis (director of the Valdivia International Film Festival 2007-8) by Juan Pablo Miranda; and Kent Jones’ reflection ‘Can Movies Think?’. And, on the eve of the US election, two glances back at 2004: in Jean-Pierre Coursodon’s celebration of Robert Altman’s little-screened Tanner on Tanner; and Gilberto Perez’s take on Michael Moore’s Fahrenheit 9/11, an essay deemed too hot for The Yale Review. The special bonus of this issue is a dossier of essential articles devoted to the work of Manny Farber (1917-2008) as critic and painter, by Donald Phelps (1969), Jonathan Rosenbaum (1983), Patrick Amos & Jean-Pierre Gorin (1986), Bill Krohn (1988) and Adrian Martin (1999) – plus a little-known, knockout piece by Farber on radio hosts published in 1951.