From: ADAM ABRAMS (email suppressed)
Date: Thu Aug 10 2006 - 12:18:09 PDT
The next Jefferson Presents...
Sat. 8/26/06, 9:00pm
Garfield Artworks, 4931 Penn Ave.
All on 16mm -- of course
The Eye of Count Flickerstein
The sustained dead gaze of black-and-white TV "snow,"
captured in 1965 and twisted sideways, draws the
viewer hypnotically into an abstract visual jungle.
1967, revised 1975, 16mm, B&W, silent, 7 minutes $30
“‘Caudal' is a Spanish word meaning, literally, the
quantity of a river's flow, and, figuratively, wealth,
or riches. In English, caudal is an anatomical term
that refers to the tail or end part of an animal, such
as the caudal fin of a fish.
The film is a study of the undulating chiaroscuro of
rivers, creeks and shorelines in black, white, and
silver. Violence counters serenity: clouds, deserts,
and waterways teem with an encyclopedia of light.
Camera follows sun's glint as it descends through
layer after layer of abstraction, finally reaching a
climax in nature's impossible hieroglyphic scrawls.
Metaphors are explored in an alternating montage of
water and its visual echoes—bodily fluids, commerce,
and the journey of the spirit after death. The
recurring vision of a Mexican trajinero rowing up the
canals of Xochimilco (via found footage from a Castle
Films travelogue circa 1940s) plays host to a dream of
glorious manhood and rebirth. This film also
incorporates a last vision of friend and mentor Stan
Brakhage, as I imagine him spirited up a stairway of
waves in glistening twilight. Camera gestures
(in-camera edits, flash frames) evoke this loss and
its possible redemption. Much of Los Caudales was
processed in a Russian spiral developing tank using
chemical formulas of my own design. I uncovered
silvery depths in these images, with subtleties of
gradation harkening back to early photographic
processes. Variations in surface texture are unusually
gentle. Homage: S.B.'s Commingled Containers and Ralph
“Timoleon is not only in love with film, but is the
love of film. Los Caudales , shot in b&w reversal and
perhaps one of the last films to be printed on the
visually luxurious b&w reversal print stock, has many
moments of astounding beauty. Many of its camera
improvisations will stick forever in the memory of the
film lover.”—Nathaniel Dorsky
2004-2005, 16mm, black & white, silent, 17 minutes,
Scott Bartlett - Medina
A documentary about the old cities of Morocco.
Bartlett sleptwalked into an awakening culture.
"It is as if all the impulse toward lyrical pattern in
Bartlett's film work had found an objective
correlative in the walls, the steps and tiles, the
dense calligraphic decoration, the shaded windows and
veiled eyes of the city." - The New York Times
1972, 16mm, color/so, 15m, $45
Bruce Baillie - Roslyn Romance (Is It Really True?)
My ROMANCE is intended for something like "broadcast" form, or
like a correspondence ... not so much for showing a big batch of
it at one sitting. Eventually it should be in both film and videotape form.
The Introduction, Intro. I & II, is finished now. I will send rolls from time
to time and hope one of these days to put the rest of it in shape for
you to see. Meanwhile, I'll be continuing to record the ROMANCE
\wherever I am.
The work seems to be a sort of manual, concerning all the stuff of the
cycle of life, from the most detailed mundanery to ... God knows.
1974, 16mm, color/so, 17m, $60
Nathaniel Dorsky - Ariel
ARIEL is a highly energetic and colorful divertissement of abstract film
achieved with improvised home color processing and a physical, almos
t sculptural manipulation of the film surface.
"ARIEL, which shares its name with the airy spirit in Shakespeare's
The Tempest, presents a free-wheeling tactile procession beginning
with exuberant passages full of emphatic physical gestures and moves
through somber burgundy patinas and bursts of delicate vitreous
pools." - Janis Crystal Lipzin
1983, 16mm, color/si, 16m (18fps), $45
Rose Lowder - Scenes De La Vie Francaise:Paris
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 each film. In SCÈNES DE LA
VIE FRANÇAISE: PARIS, 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.
1986, 16mm, color/si, 26m (24fps), $80
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