Jefferson Presents JULY program

From: ADAM ABRAMS (email suppressed)
Date: Tue Jul 25 2006 - 09:56:43 PDT

Jefferson Presents ... NEXT SCREENING:
 WHEN: Saturday, July 29, 2006, 9PM
 WHERE: Garfield Artworks 4931 Penn Ave.
 HOW MUCH: $5/$4 students, seniors
 While it can be said that all of our programs present
 Pittsburghers with a unique opportunity to see forms
 of cinema that can't be seen elsewhere, this program
 promises to be truly stunning. Read on for complete
 All films will be projected in 16mm film.
 Gunvor Nelson - Kirsa Nicholina (1969, 16mm, color/so,
 "That Gunvor Nelson is indeed one of the most gifted
 of our poetic film humanists is revealed in KIRSA
 NICHOLINA, her masterpiece. This deceptively simple
 film of a child being born to a couple in their home
 is an almost classic manifesto of the new sensibility,
 a proud affirmation of man amidst technology,
 genocide, and ecological destruction. Birth is
 presented not as an antiseptic, 'medical' experience
 (the usual birth film focuses on an anonymous vagina
 appropriately surrounded by a white shroud) but as a
 living-through of a primitive mystery, a spiritual
 celebration, a rite of passage. True to the newest
 sensibility, it does not aggressively proselytize but
 conveys its ideology by force of example. With husband
 and friends quietly present, the strikingly pretty
 young woman, in fetching terrycloth and red socks, is
 practically nude throughout; her whole body is seen at
 times, and for once the continuity between lovepartner
 and birth-giver is maintained; she remains 'erotic.'
 We never once forget that she is a woman and that the
 new life came from sexual desire ...." - Amos Vogel,
 The Village Voice
 Award: Diplomate, Oberhausen Film Festival
 John Smith - Girl Chewing Gum (1976, 16mm black and
 white/sound 12 min.)
 "In 'The Girl Chewing Gum' a commanding voice over
 appears to direct the action in a busy London street.
 As the instructions become more absurd and fantasized,
 we realize that the supposed director (not the shot)
 is fictional; he only describes - not prescribes - the
 events that take place before him. Smith embraced the
 'spectra of narrative' (suppressed by structural
 film), to play word against picture and chance against
 order. Sharp and direct, the film anticipates the more
 elaborate scenarios to come; witty, many-layered,
 punning, but also seriously and poetically haunted by
 drama's ineradicable ghost."
 -A.L. Rees, A Directory of British Film & Video
 Rose Lowder - Scènes de la vie française: Paris (1986,
 16mm, color/si, 26min.)
 This film is one of a series of films: Arles, Paris,
 La Ciotat, Avignon. All four films share a similar
 organizational procedure in that their material is
 woven together on an ordinary printer according to a
 certain pattern. The problems that arise are tackled,
 however, in a slightly different way in the case of
 several Parisian landmarks - Jardin du Luxembourg,
 Place de la Republique, Rue St. Antoine, Canal St.
 Martin, Place de la Bastille - are presented by means
 of a composition of frames recorded at various times
 from a similar viewpoint.
 Matthias Müller - The Memo Book (Aus Der Ferne) (1989,
 16mm, color/so, 28min.)
 Originally Super 8. "Müller's virtuosic rephotography,
 editing and hand processing techniques are hurled into
 an erotic maelstrom, remaking the divisions of the
 Word in a continual flux of inside and out, container
 and contained. Learned in the tradition of Eisenstein,
 Genet, Anger and Jarman, THE MEMO BOOK seeks to remake
 the male body in a celebratory flow of communion and
 despair, mythos and logos. One of the great erotic
 works of German cinema." - Mike Hoolboom, Independent
 Matthias Müller - Home Stories (1991, 16mm, color/so,
 6 min.)
 "She screams. She falls silent. The expectation of
 terror makes her terror. But what she faces is nothing
 but the observer's view. She is the observed. Cliches
 of melodrama unite into a drama of stereotypes. The
 brilliant montage of cases in point reveals the
 mechanism of voyeurism in HOME STORIES by Matthias
 Müller." - German Association of Film Critics
 Award: Best German Short Film, German Film Critics
 Association, 1991
 James Otis - Upper Blue Lake (1996, 16mm, color/si,
 Coming to grips with landscape via
 pseudo-hyper-stereoscopy. Your eyes are two-and-a-half
 inches apart, giving viscerally felt depth to 25 feet.
 If your eyes were 400 feet apart, you'd see solid
 forms three miles distant and think your grasp
 extended a mile. I established pairs of viewpoints up
 to hundreds of feet apart and jogged between, at each
 shooting a few frames. Since usual depth perception is
 only to 25 feet, we see anything in stereo as within
 that distance; mountains are seen as close and, hence,
 small. Filming took days and days: time, too, is
 miniaturized; shadows creep and clouds boil.
 Experience land as diorama and time as summary. UPPER
 BLUE LAKE, although not the most successfully
 pseudo-stereoscopic of several such wide-eyed studies,
 so enthralled me with its various qualities of light
 and atmosphere, I persevered, for five years jogging
 whenever I could, 12,000 feet high in the Colorado
 All descriptions courtesy of Canyon Cinema
 Jefferson Presents...
 Movies for YOU
Try where your online world comes together - with news, sports, weather, and much more.

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.