Tuesday, July 13, 2010

Jefferson Presents... Past Programs 2009:

103. Saturday, June 27, 2009

Tom DeWitt – “Atmos Fear” (1966, 16mm, color, sound, 5.25 min) "An extraordinary film, which powerfully evokes the feeling of the city, but more important, a film of fine graphic design." -- Lenny Lipton "Things to watch for include: the way DeWitt thinks inside his camera, the use of single-frame techniques to enhance certain images, the lens-integrity in zoom and focusing effects (he borrowed Vanderbeek's equipment to make this film), and the moderate use of solarization (re-exposed/negative print) and multiple exposure. There is a lot to be learned from ATMOS FEAR." -- David Buehler

Jerry Abrams – “Lotus Wing” (1968, 16mm, color & b/w, sound, 16.5 min) The world is recommitting sexual-political suicide by daily insertion of missile-cocks into self-orifices. Complete with ejaculatory delusions, military erections, and the animated virility of Krazy Kat. LOTUS WING spends USA over us all as our lives are spent wiping up the remains of our self-destruct. Probably my last film in this genre.

Victor Faccinto – “Filet of Soul” (1972, 16mm, color, sound, 15.75 min) Faccinto’s award-winning, animated film using paper cut-outs with shocking, explicit content. Part of the incredible Video Vic series.

Victor Faccinto – “Exercise” (1975, 16mm, black and white, silent, 14.5 min) A rephotographic investigation of relationships between literal and visual material. Based on the theme 'spiritual redundancy'. --V. F.

Ken Kobland – “Near and Far/Now and Then” (1979, 16mm, color, sound, 28.5 min) A two-part film, one part unedited camera footage of a late Autumn to Winter woods, and the other a highly manipulated blue-screen re-photography process. Each part mimics the action of the other. Each is involved with a background-foreground, motion-to-still image juxtaposition: with the whole to the part, the arrested moment to the one just gone, the nostalgia of space and time. --K. K.

Alan Berliner – “Everywhere at Once” (1985, 16mm, color, sound, 8.75 min) ... is a musical montage, a synchronized symphony composed from an infinity of elements at hand: piano chords and cable cars, cocktail jazz and broken glass, looney toones and telephones, elephants and xylophones, violins and vultures, orchestra's and roller coasters... A journey in images at the speed of sound. These collages films are drawn from a vast personal library of sounds and images, steadfastly accumulated over many years. This randomly assembled over and over expanding pool of elements serves as the basis for a form of bricolage-- cultural artifacts and residues, odds and ends accumulated over time and transformed into works attempting to bridge a wide range of poetic horizons: the actual with the possible, pre-history with science fiction, magic with science fact, the medium with the message. Ultimately these film documents my need to put that order to my universe, a place burdened by my need to make the puzzle fit the pieces.

Johannes Rosenberger – “Subcutan” (1988, 16mm, color, sound, 20 min) A portrait of Vienna in the "year of remembrance," 1988. A cinematographic approach to the history and obsessions of this town. A glance under the skin of everyday life, searching for the open sores in the soul of this would-be metropolis. The objects found: The old lady listening through the wall. A peep show for Catholics. A couple giving life to child they long for. A song for Kurt Waldheim. Fish from the Danube, crashing against a kitchen wall. The torture of zither playing, etc. A personal statement on my hometown, work close to the traditions of Austrian experimental film. A coughing up and spitting out. -- J.R.

Ross Nugent – “Spillway Study/ Carpe Diez” (2009, 16mm x 3, +, 7 min) A performance for three 16mm projectors using reprinted found footage, colored gels, canned sound. Original footage credit: Tom Diez

102. Saturday, May 30, 2009

William Ault - "The Movie Set" (1964) 16mm, black and white, sound, 10 min My intent is a re-seeing or re-visiting of the set by the camera which was one of the actual cameras used in shooting INTOLERANCE. All optical effects were done in the camera, using high-contrast positive raw film stock. In keeping with the subject, I made the film as a silent film with piano music from a cue sheet used in theaters during screenings of the original Babylonian sequence of INTOLERANCE, so it is not an anachronism... only an acknowledgment to D. W. Griffith, whose vision was 'to make you see'. And that is what I attempted in making the film, using the unbelievable detail and imagery that I found in the photograph of this Movie Set of movie sets. "Should be shown as a veritable study-text in every motion picture class in the country... mimesis on the highest possible level of creative achievement.' -- Gregory J. Markopoulous, judge, 3rd Los Angeles Film-Makers' Festival.

Jerry Abrams - "Eyetoon" (1968) 16mm, color, sound, 8 min "The sea, tranquil and violent, is the ultimate symbol for Jerry Abrams' EYETOON and the ultimate equivalent to making love -- his concern in this short and visually dazzling film. Abrams contrasts the rushing faces of New York and a highway juggernaut with the peaceful joining of bodies in a Gjon Mili-like stroboscopic sequence -- always with a burbling, flashing maelstrom of emotions underlying and double-exposing with the bodies. It is visually lovely, technically first-rate and impossible to ignore. The graphic sex is economically handled." -- John L. Wasserman, San Francisco Chronicle "The film EYETOON would seem to be the perfect synthesis of the metaphysical, spiritual and sexual feelings of a sensitive experimental filmmaker." -- Reverend Earl Shagley

Hollis Frampton - "Matrix" (1977) 16mm, color, silent, 27.45 min "This is a work that is central to the Magellan voyage.There are multiple layers of imagery; (slaughterhouse footage, steel mill footage, imagery of cows in a field, hexagonal shapes apparently punched into the film material) which are all presented simultaneously. The superimposition of what are, I assume, variously filtered layers of colour material which creates a glorious flow of shapes" - Scott MacDonald

Jurgen Reble - "The Golden Gate (Das Goldene Tor)" (1992) 16mm, color, sound, 60 min Weaves together fragments of nature films about insects and reptiles, images from space programs, and astronomy with filmmaker's own footage of human activity from his immediate environment. "The Golden Gate," a term that dates back to pre-Christian mythology, describes the spiritualization and renewal of divine fire by passing through the winter solstice.

101. Saturday, May 30, 2009
Jack Smith - FLAMING CREATURES (1963) 16mm, b&w, sound "[Jack Smith] has graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.

"He has shown more clearly than anyone before how the poet's license includes all things, not only of spirit, but also of flesh; not only of dreams and of symbol, but also of solid reality. In no other art but the movies could this have so fully been done; and their capacity was realized by
Smith." - Film Culture

100. Saturday, April 25, 2009

Victor Faccinto – “Shameless” (1974) 16mm, color, sound, 13.5 min Cut-out puppet animation. Not recommended for gentle sensibilities. Plagued by his redundant existence, Video Vic follows his instincts into an outer space environment, where he is faced with the cruel realities of his linear life.

Peter Gidal – “4th Wall” (1978) 16mm, color, silent, 38.25 min "Gidal's camera movements, are at one level predicated on the sensual lure and the visual pleasure which he derives from the objects looked at (already an aware sublimation of a sexual object onto another even before the film is shot). The camera slowly moves over the beautifully paterned bedspread (or rug, which Gidal chooses because he already finds it visually pleasurable), and even where it encounters objects with no intrinsic implications of beauty, their separation (framing) from their visual and more important, utility, contexts transforms them into 'to be looked at objects.'" --Malcolm LeGrice, Millenium Film Journal

Hollis Frampton – “The Red Gate (Magellan at the Gates of Death Part I)” (1976) 16mm, color, silent, 52 min "In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cadavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."--Bruce Jenkins

99. Saturday, March 28, 2009

David Brooks – “Winter” (1966) 16mm, color, sound, 16.5 min. Locales: Nantucket, Kazakhstan, Grant's Nepal, Colorado, Mt. Kearsange, Iowa, 7th Street. Door golden night room trees fire drip rain blue horse river snow birds green mountain forest dark room mist car trees window ducks are flying. Overtones: Raga Palas Kafi, Grant's, Slug's, Bo Diddley, Jimmy Reed, Raga Rageshri, the wind, Chuck Berry, Marvin Gaye, the Beatles, Piatniksky Chorus.

David Brooks - “Letter To D. H. In Paris” (1967) 16mm, color, sound, 4 min. Stoned people, music, movement, fields.

Michael Wiese – “Messages, Messages” (1972) 16mm, black and white, sound, 23.5 min. A journey of the psyche into the world of the unconscious. This surrealistic film is influenced by Dali, Bunuel and the German expressionists. The film was premiered at the St. Regis Hotel in New York by Salvador Dali and invited to Director's Fortnight at Cannes.

James Benning – “9/1/75” (1975) 16mm, color, sound, 22 min. Twenty-two minute tracking shot through campgrounds in Southern Wisconsin

Pip Chodorov – “Charlemagne 2: Piltzer” (2002) 16mm, color, sound, 22 min
A piano concert by Charlemagne Palestine, filmed on super-8 and optically printed. Each film frame corresponds to a note in the concert; as the music speeds up, photography becomes cinema. The discordant harmonics are translated visually into complementary colors. By representing music visually, the fast flickering creates an orgasm in the optic nerve.

Donna Cameron – “Live Reel I - War Paths Thru Turquoise & Silver” (2005) 16mm, color, silent, 15 min. All films employ a cinematic paper emulsion technique developed by Cameron since 1974 and are handmade, original works. Film begins with primitive carving into handmade paper emulsion of ancient cuneiform glyphs, evolves into painting and drawing of glyphs, them floating type, using digital print-out of helvetica type and concludes with multi-material words: World Trade Alphabet." -- Canyon Cinema catalog

Pip Chodorov – “Faux Mouvements (Wrong Moves)” (2007) 16mm, color, sound, 12 min. Having studied cognitive science and film semiotics, Pip Chodorov (b. 1965) recent films and drawings explore the terrain between the two fields. While aiming to confuse the parts of the brain responsible for the perception of motion (areas VI7 and VI8 of the optical cortex), Chodorov maximizes the potential hypnotic power of repetition and irregularity.

98. Sunday, March 29, 2009
Michael Snow - "La Region Centrale" (1971, 16mm, color/so, 180 min
"This three hour film by the Canadian Michael Snow is an extraordinary cinematic monument. No physical action, not even the presence of man, a fabulous game with nature and machine which puts into question our perceptions, our mental habits, and in many respects renders moribund existing cinema: the latest Fellini, Kubrick, Buñuel etc. For La Région Centrale, Snow had a special camera apparatus constructed by a technician in Montreal, an apparatus capable of moving in all directions: horizontally, vertically, laterally or in a spiral. The film is one continuous movement across space, intercutting occasionally the X serving as a point of reference and permitting one to take hold of stable reality. Snow has chosen to film a deserted region, without the least trace of human life, 100 miles to the north of Sept-Isles in the province of Quebec: a sort of plateau without trees, opening onto a vast circular prospect of the surrounding mountains.

"In the first frames, the camera disengages itself slowly from the ground in a circular movement. Progressively, the space fragments, vision inverts in every sense, light everywhere dissolves appearance. We become insensible accomplices to a sort of cosmic movement. A sound track, rigorously synchronized, composed from the original sound which programmed the camera, supplies a permanent counterpoint.

"Michael Snow pushes toward the absurd the essential nature of this 'seventh' art which is endlessly repeated as being above the visual. He catapults us into the heart of a world before speech, before arbitrarily composed meanings, even subject. He forces us to rethink not only cinema, but our universe." - Louis Marcorelles, Le Monde

La Région Centrale was made during five days of shooting on a deserted mountain top in North Quebec. During the shooting, the vertical and horizontal alignment as well as the tracking speed were all determined by the camera’s settings. Anchored to a tripod, the camera turned a complete 360 degrees, craned itself skyward, and circled in all directions. Because of the unconventional camera movement, the result was more than merely a film that documented the film location’s landscape. Surpassing that, this became a film expressing as its themes the cosmic relationships of space and time. Cataloged here were the raw images of a mountain existence, plunged (at that time) in its distance from civilization, embedded in cosmic cycles of light and darkness, warmth and cold. Michael Snow on La Région Centrale

97. Saturday, January 31, 2009

Steven Dwoskin - "Times For" (1970) 16mm, color, sound, 80 min. TIMES FOR is a larger entry into dream reality. An unfulfilled man renders himself to the unrealized sensuality of four women. In his drifting search he fails and fades in the same loneliness as the women. The film is the reality and a metaphor for the intensities of sexual experience. "... His camera is a never-static instrument of his intrusion into the fantasy/reality of the relationships he is dealing with and forming .... TIMES FOR is one of the few erotic masterpieces." -- program note, National Film Theatre, London

Peter Emshwiller - "Jr. Star Trek" (1969) 16mm, color, sound, 8 min. "Peter and his fifth grade buddies talked me into being a technical advisor and an alien monster for this epic. A must for "Star Trek" fans!" –Ed Emshwiller

Jerry Abrams - "Mainstream" (1968) 16mm, color, sound, 6.5 min. The infinite span of a thought is transformed into spatial-temporal intersects -- to become and become and become and never more or less -- MAINSTREAM is a fresh dip into oblivion -- a confused taste of love -- an expanded glimpse into a micro-moment -- a sliver of mind's motion becoming.

Dan Agnew - "Doppler Effect: Version II" (1968) 16mm, b&w, sound, 5 min. DOPPLER EFFECT began as a severe condensation of my own stock footage in 1967. The original sound track was composed by Duane Hitchings in the Fall of 1967 on the Moog Synthesizer at Pennsylvania Musical Academy. It is a subjective thought piece which really does not lend itself to any description, other than the fact it works damn well when one is stoned.

Hollis Frampton - "Maxwell's Demon" (1968) 16mm, color, sound, 4 min. Homage to the physicist, James Clerk-Maxwell, father of thermodynamics and analytic color theory, whom I have admired. His famous Demon, mythic and microscopic as Spirochaeta pallida, is a perfectly imaginary being who deals entirely in pure energy.

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