From: Shane Christian Eason (email suppressed)
Date: Thu Apr 08 2004 - 00:15:01 PDT
...and in the end only one will remain
16 minutes | 16 mm | colour | sound | 2004 | shane christian eason
Thursday April 15, 2004 | 17h30 - 20h00 | de Seve Cinema | 1400 Maisonneuve Blvd. W. | Montreal
Screening of both present and past experimental film and video work from Shane Christian Eason.
Film and video work include; 365 (2001), block[s] (2002), as well as, ...and in the end only one
will remain (2004).
Doors open at 17h30, screening starts at 18h00. Total running time: 60 minutes, give or take.
Vernissage to follow in foyer of de Seve Cinema, with an informal gathering later at Hurley's Pub,
1225 rue Crescent, Montreal, QC., around 20h30.
For more information, contact (514) 985 9602 or (address suppressed)
Financial assistance and support provided by: Mel Hoppenheim School of Cinema (Montreal, QC.),
Main Film (Montreal, QC) and the Saskatchewan Filmpool Cooperative (Regina, SK).
**Program is subject to change.** + **Filmmaker will be in attendance.**
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...and in the end only one will remain (2004)
shane christian eason - artist statement
...and in the end only one will remain is a short, experimental, 16 minute colour film. The film
is similar in structure of a written essay. However, it is a series of moving image compositions.
The film uses text, an abstract soundscape and image(s) of anonymous male figure(s) under age 30,
acting and reacting with one another. It is this interaction, and the characteristics in which
male(s) interact with each other, that is the main concept of the film.
Each of the male(s) represented in ...and in the end only one will remain, act passively and
aggressively; alone and with others. The figures depict male interaction through the activity of
sport, play and other events of male bonding. Their action(s), or lack of action(s), is solely
dependent with each of the situations the males are placed in.
...and in the end only one will remain begins with a quote from Vince Lombardi.
"Winning is not a sometime thing; it's an all the time thing. You don't win once in a while; you
don't do things right once in a while; you do them right all the time. Winning is a habit.
Unfortunately, so is losing."
Vince Lombardi (1913-1970) was a National Football League coach in the United States. Lombardi's
approach to coaching was hard edged and stubborn. As the team leader, Lombardi had to show little
fear and remorse. He had a grin and bare it personality, and helped the men he coached succeed
to the furthest of their abilities. With that, he brought them pride and inevitable victory.
The film is structured in seven chapters. Each chapter is linked thematically, audibly and
tonally. Furthermore, there is the association of text prior to each chapter that contain a
common word, "John."
There are 28 citations for "John" in the Canadian Oxford Dictionary. "John" has various meanings
and implications that are both formal and informal. Perhaps the most important being the formal,
"John", most often used as a common name. It is a name that represents anonymity, such as "John
Hancock". It is a name that can be associated with world leaders, such as John F. Kennedy. It is
a name used for slang, such as "johnny-come-latley". "John" can represent nationalism, such as
"Johnny Canuck" and "John Bull". "John" has links to western myth and folklore, such as "Johnny
Appleseed". "John" can represent an unidentified male, such as "John Doe". "John" is the every
man. "John" is represented in each of the chapters.
In the process of making this film, I collected and researched found and original images from
Super 8 and 16 mm films. Selected images from the films were then (re)photographed and
manipulated on an optical printer, hand processed and toned. As for sound, I collected found
sound and created a multilayer soundscape. The soundscape is abstract and assist the tone of the
image in creating a mood.
The approach of the technical process for ...and in the end only one will remain is textured and
hands on. The physical characteristics that come with this type of filmmaking are: camera and
image movement, focus of the lens, splice lines, dust, hair, burn curtains, etc. All of which
create an awareness of the frame, surface and a visceral effect. Furthermore, the image and sound
treatment, evoke tension and deep emotion(s) that rumble and smolder with feelings that are
unresolved.
©2004 | shane christian eason
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