Mark Boswell (film director)

Mark Boswell is the founder and leading theorist of the NOVA-KINO experimental cinema movement.

Born 1960 in Asheville, North Carolina, Boswell studied film, film theory, and art history in Switzerland, France, Germany and the Florida Space Coast from 1984–1992. He co-founded the Alliance Film/Video Cooperative in 1993 (with William Keddell) and the Anti Film Festival in 1994. Some of his most widely screened films are Unknown Unknown(s), (2009)USSA: Secret Manual of the Soviet Politburger, (2001)Agent Orange, the feature film The Subversion Agency (2004) and the documentary 60 Seconds of Solitude in Year Zero.

For many years Boswell has taught at the San Francisco Art Institute, The Ringling College of Art and Design, Florida, and the Pratt Institute in New York. He was awarded the 2004 International Media Art Award from The ZKM Museum in Karlsruhe Germany for his film The End of Copenhagen. He has also lectured internationally on agit-prop cinema at the UCLA Hammer Museum in Los Angeles, the Wolfsonian/FIU Museum Of Propaganda in Miami Beach, the Magis Film Conference in Italy, and the Ruskin College of Art at Oxford University, England. During the mid-nineties he edited numerous projects for Doris Wishman during the last phase of her career in Miami Beach.

Boswell’s work is sometimes noted for its elliptical montage structure featuring a wild concoction of appropriated film materials coupled with his own production footage. Another aspect of this process is his usage of subtitles over original scenes from iconic films that leads toward an entirely different storyline.

During the 2009 Cambridge Film Festival in England the British film critic Laura J Smith wrote: He refers to his work as “Nova-Kino” a pertinent cinematic theory for filmmakers and media artists alike who, as Boswell describes, “utilise found footage as source material to be re-edited or re-animated, giving radical rebirth or second life in their reconstructed state.” A vital element of Nova-Kino is “the usage of critical, political, and other highly charged points of view embedded within the structure of the work that challenge hegemonic power structures at large or in more specific realms.” By no accident, these aesthetics are undeniably similar to those of Agit-Prop cinema, which Boswell labels “the eternal bi-product of the Russian Revolution.”

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