of post-modernist, which is to take something that was in the culture before and then turn it into something else, like taking it out of context. So it's kind of what pop art was in a way. I was using Warhol as kind of a soup can. It's like redoing that but it's done in a completely remodernist way because it's using the technology and the sensibility of contemporary rather than nostalgia. In late August, 2009, an International Alliance of Remodernist Filmmakers was started by Jesse Richards in order to promote discussion and collaboration amongst those following the manifesto. The filmmakers include Jesse Richards, Harris Smith, Christopher Michael Beer, Dmitri Trakovsky, Kate Shults, Peter Rinaldi and Khurrem Gold of America, Roy Rezaali of Holland, Rouzbeh Rashidi of Iran and Dean Kavanagh of Ireland. In October, 2009, with the intention "to further develop and explain Remodernist film concepts", a series of articles by Jesse Richards, Peter Rinaldi and Roy Rezaali were published in the magazine MungBeing. Richards said, "Remodernism rejected Postmodernism for its 'failure to answer or address any important issues of being a human being'", and that Remodernism is "about seeking truth, establishing meaningful connections" and "addressing the shadow". In his essay Concepts and Craft in Remodernist Film, Richards said that Remodernist film craft "embraces the amateur", involves the idea of filmmakers "teaching themselves to paint pictures, to try acting in their own movies and those of others (especially if they are shy), to be nude models for other artists, to meditate, worship if they are religious, to do things that affect their levels of consciousness, try things that make them nervous or uncomfortable, to go out and be involved in life, to find adventure, to jump in the ocean. I think that is the exploration of craft". The article explains the differences between modernist, post-modernist and remodernist cinema, describing Robert Bresson and Andrei Tarkovsky as "early Remodernist filmmakers", and notes films that make emphasis of "small moments", including Béla Tarr's film Satantango, "...every moment of the film Satantango is a good example of this kind of exploration of "moments"- the film starts with a ten-minute shot following cows coming out of a barn and wandering around a run-down agriculture collective. These kinds of moments are all but ignored in most examples of modern cinema, and that's a terrible, terrible thing". Richards says of Remodernist filmmaking: I believe that the