From: DOMINIC ANGERAME (email suppressed)
Date: Tue Jan 30 2007 - 19:12:23 PST
The following new releases have been received by
Canyon Cinema during the past three to four
months....they will be posted to the Canyon Cinema
website within the week.
Canyon Cinema New Releases January 2007
Barton, Colin Vincent
Sound by Tim Taylor & Freddie Fresh
Unbearable Being" originates in 35mm, this hand
painted and collaged film moves through loops and
projectors. A playful piece on personal identity
“A Hand-Painted combstible collage” – Josh Siegel –
Assistant Curator MoMA
1997, 16mm, color/sound, 2 min. Rental $20
A post-industrial visual monster. The multiple layers
of this film each contain separate and individual
films. Each representing different ideas, ranging from
enjoying coffee to being overcome by an industrial
society laden in radiation.
1991 16mm, color/sound, 3 min. Rental $20
Images of Broken Face
Sound by Crank Sturgeon, Michael McKay, Colin Barton,
Mark Anulli and James McKay.
"Images of Broken Face" is the intertwining of three
films; an experimental film, a social/political
satire, and a narrative. The narrative section,
featuring artist James McKay, flows through layers of
distortion creating a collaged landscape of image and
sound bites. The social/political satire, "Lobster and
Cow", reflects the current social gender rolls of boys
and girls. Appearing first, is a structural piece,
five frames of 35mm film shoot horizontally creating
one 16mm film frame, the circles, cut-outs, and
hexagons are from the 35mm piece reprocessed onto 16mm
1993, 16mm. color/sound, 7 min. Rental $25
Like footnotes at the end of a book, "Broken Footnotes
" gives further information to the ideas in and
out-takes from "Images of Broken Face."
1994, 16mm, color/silent, 8 min. Rental $25
Four Short Films (with Liquid Film Interlude)
"Four Short Films" are four previously unreleased
films all originally generated in 35mm. They are:
"Skull For You!”, "Side Show of the Damned(preview
trailer)", "Part2", and "Skull Two You!", these "Four
Short Films" were completed between 9/92 – 9/97.
SKULL FOR YOU! (1992)
A vindictive gun-wielding Skull battles his way though
a collaged landscape of Hollywood films.
Side Show of the Damned (preview trailer) (1994)
This film was made as a preview trailer for a
multi-media performance show held at the Coolidge
Corner Theatre in Brookline, MA. This "trailer" was
exclusively shown in it's original 35mm hand collaged
state before the feature attractions for three months
prior to the performance show. Audiences up to 500
people were subject to this pirate projection,
confusing and bewildering many. This concept of
"preview trailer as original art" caused a stir in the
local film going community.
PART 2 (1994-1999)
Sound by Aki and Colin
"Part 2" is the "That's Entertainment, Part 2" preview
trailer dissected and re-interpreted.
SKULL TWO YOU! (1994-1997)
The sequel to "SKULL FOR YOU!". Coming from a
childhood background directly affected by HBO and
cable TV, "SKULL TWO YOU!" is a further social
commentary on violence in cinema and a meditation on
the female role in modern cinema. A reactionary
regurgitation of pop culture, and a personal account
of how youth is affected by violence in cinema. The
images retain as memories in a disjointed childhood.
The film lives in the time of a falling woman and what
flashes to her on the way down.
2000, 16mm, color/sound, 8 min. Rental $30
Song and Solititude
“Song and Solitude” was conceived and photographer
with the loving collaboration of Susan Virgil during
the last year of her life. Its balance is more toward
an expression of inner landscape, or what it feels
like to be, rather than an exploration of the external
visual world as such.
“Old School doesn’t describe it. Dorsky has achieved
such a subtle mastery over the most basic means of
cinematic expression—composition, duration,
juxtaposition—that he can squeeze a wealth of
emotional vibrations out of the silent, seemingly
banal interplay of foreground and background objects.
A formalist with a brimming, elegiac soul, Dorsky will
gently rock your attitude toward cinematic landscape.
His world is a sublime mystery measured by patience
and unmatched visual insight”.
—Paul Arthur, Film Comment
2005/2006, color/silent, 18 fps., 21 min. $75 Rental
Blutrausch - Bloodlust
The film is an attempt to constitute a human/machine
dialogue. It shows the filmmaker´s blood as seen/heard
with the eyes/ears of the machine which is a film
projector with optical sound. The filmmaker affixed
his blood onto transparent film leader. This was
achieved by cutting into the flesh and then pressing
the film leader onto the wound. It was also done by
having blood taken by a nurse with a syringe and
afterwards dripping the blood on the film leader. It
was done with fresh and with clotted blood.
Ann Arbor Film Festival - Ann Arbor Film Coop Award
Microcinefest - Special Jury Award
1999, 16mm, color/sound, 4:15 min. Rental $30
Burned filmstrips meet the light and invade the screen
with structures of residue, ashes, flames and
destruction. New landscapes and worlds appear in the
state of disintegration by fire. The former carrier of
conserved imagery is now in full bloom of organic
splendour. The lifeless filmstrips have been
The film is a remix/interpretation of an expanded
cinema piece I did several years ago called 'Feuer
Frei - Open Fire' that was made of burnt film and was
unscreenable. I built an optical printer to make a
screenable version of the film.
... Friendly Fire (2003) literally burned what you
could see, and it was the light of the fire, the
projector's beam, that played out in stunning violence
onscreen. With so much attention dedicated to the
preservation of film, FriendlyFire proposed a
cathartic alternative: ruined figures of melted
celluloid and crackling ash. in death film comes
alive, more vital, reborn by the very forces that
(Genevieve Yue 'Senses of Cinema')
Nov. 2003 TIE the international experimental cinema
exposition in Colorado, USA
May 2004 Videoex in Zurich, Switzerland
July 2004 Open Eyes in Marburg, Germany
November 2005 Exground in Wiesbaden, Germany
2003, 16 mm, color/sound, 7:20 min. Rental $35
Hautnah – Skinflick
Filmic exploration of the texture of my hand with and
without camera. with maintaining the hand/skin theme
the methods of film production are changed. Hence not
only is my hand shown in various ways but also
different possibilities of filmic representation are
discussed. For the sound I audio scanned my hand with
the cartridge of a phono player. The resulting sounds
were rearranged to fit the images.
This film was finished with a grant from the Filmbüro
... This beautifully crafted and shaped film is an
exhilerating piece of visual music. The images speak
poetically of a merging of technology, projected
light, and the human body. The extreme close-ups
remind us of the fragility and beauty which covers our
(David Finkelstein 'Film Threat' on 'Hautnah')
Microcinefest - Best Experimental Film
New York Exposition of Short Film and Video - Kodak
Humboldt International Short Film Festival - Honorable
2002 , 16 mm , color/sound, 7:30 min. Rental $35
The mystery of the crystals under closer examination.
What is it that makes them possess magic powers as
claimed by mystics thorough the ages? By growing
crystals directly on film their mystical qualities
shine straight to the screen. Unfiltered, only aided
by light which gracefully breaks its rays into rich
Ann Arbor Film Festival - Best 16mm Film
Chicago Underground Film Festival - Best Experimental
Impakt - Silver Award
International Week of Short Films of San Roque -
Black Maria Film & Video Festival - Director's Choice
$100 Film Festival - Jury Award
2004 / 16mm, color/silent, 5 min. Rental $30
A film made entirely with foil paper, exploring its
possibilities in the realm of the audiovisual. For
each frame a new foil paper landscape was created
changing the parameters of light and perspective. In
order to match the rapid flow of images several foil
paper sounds have been restructured and edited.
Black Maria Film & Video Festival - Honorable Mention
Seattle Underground Film Festival - Honorable Mention
2005, 16mm , 5min., color/sound, Rental $30
(animated films by George Griffin, 2006)
In addition to the selection released on VHS in 1996
contains rarely seen experimental work from the 1970s
a slideshow of storyboards and commentary on A LITTLE
Holding more than 2 hours of indexed material GRIFFITI
ARCHIVE is an
ideal tool for analyzing and appreciating a body of
from the first experiments in technique, to the
and gallery installations, to the later work based on
music and narrative.
It also includes a sample of commissioned work.
Rapid Transit, 1969, 2:30. Sillhouetted bean mandalas
hopping to a bongo beat.
Displacement, 1969, 2:30. Abstract exercise in pattern
Candy Machine, 1972, 4:00. A “little man” cartoon set
against a xeroxed subway.
Trikfilm 1, 1972, 1:00. Optically-printed nude dance;
line drawn to Bach prelude.
Trikfilm 3, 1973, 3:30. A hand draws a flipbook of
L’Age Door, 1975, 1:00. Animated flipbook of endlessly
The Club, 1975, 4:00. A tour of an exclusive men’s
club and its complacent members.
It’s an OK Life, 1980, 4:00. Cartoon glimpse into a
future which now seems all too familiar.
Hand Collation, 1978/2004, 5:00. Hand-held documentary
of time-stitching. Silent.
Academy Leader Variation, 1984, :10. Cut-out photo
countdown with body parts.
Head, 1975, 10:30. A self-portrait of the animator
undone by his cartoon surrogate.
Thumbnail Sketches, 1976, 7:00. Elemental mini-icons
perform acrobatic feats,
Lineage, 1979, 29:00. Essay on animation’s
contradictory legacy: comedy and formalism.
Step Print, 1976, 7:00. Abstract color cycles for
gallery installation. Silent.
Block Print, 1978, 17:00. A duplicated documentary of
a NYC sidewalk. Silent.
Viewmaster, 1976, 3:00. Cartoons running circles in
the face of Muybridge.
Thicket, 1985, 10:30. A dream visit with death and
memory, accompanied by Schönberg.
Ko-Ko, 1988, 3:00. Charlie Parker’s bebop anthem
propels a storm of cultural shards.
Flying Fur, 1981, 7:00. A minstrel show of cartoon
self-doubt. Music by Scott Bradley.
New Fangled, 1992, 2:00. Advertising jargon taken at
A Little Routine, 1994, 7:00. Bedtime for Nora:
parent/child conflict resolution.
Routine Stuff, 2004, 4:00. Slideshow of LR
storyboards, artwork, and commentary.
Amnesty International/Universal Bill of Rights, 1980,
:30. Freedom of Speech. Fair Trial.
Comedy Channel IDs, 1982, :10.
Aquaducks for Nora, 1988, 4:00. 2 screen
installation. Music by Joel Forrester.
Sunday Afternoon with Vice President Quayle, 1988,
3:00. Spy-TV satire.
Film Forum, 1974, 1990, 2002. Evolution of a NYC
DVD $40 Individuals; $100 Institutions
Blue Skies Beyond the Looking glass
Ever dance the mambo with silent film stars and Jordan
animation? That’s what you get with “Blue Skies
Beyond the Looking Glass”. It’s raucus. It’s lush.
It’s delirium. Here are just a few stars in the film:
Eric Von Stroheim
What more can I say?
2006, 16mm, color/sound, 15 min. $55 Rental
LES COQUELICOTS (POPPIES)
Worn out by the sea, the Sète fishing boats decide to
spend a day in the country amongst the poppies
surrounding Arles, Bédarrides and the Thouzon Grottos.
2000, 16mm, color/silent preferably 18 fps, 2.7
minutes Rental $25
VOILIERS ET COQUELICOTS (SAILBOATS AND POPPIES)
Little is necessary for everything to appear
differently. The date, the hour, the weather, the
space’s layout, one’s glance or presence of mind…can
make everything change. The boats sail out of the
Vieux port in Marseilles to be amongst the poppy
2001, 16mm color/silent preferably 18 fps, 2.6 minutes
BOUQUETS 21-30 is a part of the ecological BOUQUETS
series, consisting of one-minute films composed in the
camera by weaving the characteristics of different
environments with the activities there at the time.
The filming basically entails using the filmstrip as a
canvas with the freedom to
Film frames on any part of the strip in any order,
running the film through the camera as many times as
Thus each bouquet of flowers is also a unique bouquet
of film frames.
BOUQUET 21 was filmed in a tiny paradise which took
years to create, La Baraque, an organic farm situated
2 kms from Aujac, in the far corner of Gard,
sandwiched between Lozère and Ardèche.
BOUQUET 22 meanders over the mountain pastures near
the summit of the Grand Perron des Encombres, not far
from a macrobiotic centre at Bettaix, in the
Belleville Valley, Savoie.
BOUQUET 23 shows Terre Vivante, a centre focusing on
ecological issues,located on a site of fine
cultivated, or wild, flower and vegetable gardens
strewn over a hillside amongst ponds. Open to the
public, it organizes numerous events and publishes
excellent books and a magazine.
BOUQUET 24 was filmed in a pastoral setting around
Beausite, an inn which provides organic meals in its
preserved 1912 ambience, in Chemin-dessus, on a
mountain slope 7 kms from Martigny, Switzerland.
BOUQUET 25 was shot in Cantal, around Le Tahoul, the
Falgoux Valley and the Aulac Pass. This reel mingles
the few flowers uneaten by the Salers cows with the
village residents going about their affairs.
BOUQUET 26 was filmed in the middle of the animals of
a small farm, La Terra di Mezzo, perched on hillside
terraces of Liguria, Italy.
BOUQUET 27, moves around a macrobiotic centre in St.
Haute-Garonne. Amongst glimpses of the surrounding
countryside leading to the village of St. Béat, it
shows its residents working on the land, repairing
items or making rice biscuits.
BOUQUET 28 takes place on a farm, Mas de Cocagne,
Aujac, Gard, which has developed from an abandoned
coal-mining area into an
agricultural-ecological site over twenty-five years.
The topics include abundant floral vegetation, the
Château d_Aujac on the hillside in the distance, work
on the farm, builders erecting a roof, washing being
hung up and to end a contented
frog amongst the pink water lilies.
BOUQUET 29 shows a very isolated 18th c farmhouse, Fra
Boyer, on the borders of the Forêt Domaniale de
l_Oule, near Montmorin, Hautes-Alpes. The floral
vegetation attracts numerous butterflies and other
flying insects, the
family grow vegetables and collect the cherries while
two donkeys help themselves.
BOUQUET 30 treats the farm of Le Lanteïrou, Champagne,
near Les Vastes, Haute-Loire. One sees the cows, the
farmer by the house, a member of the family in the bed
he has built, complete with bedside lamp, under a
nearby tree, and an elderly neighbor walking between
the two white chairs set up at either end of her field
amongst the vegetable patches.
2001-2005, 16mm color/silent preferably 18 fps., 14
min. Rental $45
In this film we move away from the notion of a work
based on a preconceived filming procedure adjusting
the visual characteristiques of the image in order to
approach the temporal dimension of a pond full of
frogs. In front of such creatures that tend to be
elusive there arises a question of more general
interest as to how can one record moments that are
meaningful, how can one render visible, present a
moment that is alive and connect the items forming the
different recorded moments up together?
On s_éloigne dans ce film d_une _uvre dont la forme
est conçue a priori pour moduler de diverses manières
les caractéristiques visuelles de l_image pour tenter
de pénétrer dans la dimension temporelle d_une mare
peuplée de grenouilles.
Devant ces sujets qui tendent à être élusifs, la
question d_intérêt plus général posée est comment
saisir des moments ayant un sens, comment render
visible, présent, un moment vivant et lier les
éléments composant les différents moments les uns aux
2006, 16mm color/silent, 24 fps, 8.31 minutes Rental
Hidden among the pounding of animal hides,
All tamped into maps, their shapes
Explicit replicate butterfly wings, lie the motives of
The king who paid improper attention to his children.
From that first fascination
And it’s lascivious gaze,
Came the gorged desire for substance,
Among the skins,
Nets, shadows and milk bottles
Pried from the stomachs of metal fish,
Steam, smoke and things that won’t stay,
Speared, dangled, measured, divined.
All dreamed through wallpaper,
Or dowsed from something they drowned in long ago.
Snowed in on either side,
Lír’s beloved children,
Begin their 800 year journey.
From lake to sea
A thousand more.
2003, 16mm, color/sound, 15 min. ( but represents 8oo
years ) $50 Rental
Much of the footage that comprises Orchard is of a 19c
ruins that included a walled orchard in and area known
as Rostellen in southwest Ireland. It is set deep in
the woods and the crumbling brick and mortar of the
broken walls has become the anchor for the roots of
slender trees, so uninhibited for all this time that
they reach twenty feet in height and have thick roots
that follow like slow lazy trickles of water and in
other places branch and wind over the brickwork in an
apparently intelligent arterial arrangement
reminiscent of the human body.
Some footage of Central Park is in there, as well as
Niagara Falls, the main Dublin-to-Cork road and a thin
smoking woods on the outskirts of Rosslare, Co.
These are facts may be incidental to the film’s
eventual form, which winds the images into an
arrangement of continuous wandering. All this is
attended by environmental whispering sounds until a
voice calls out toward the end, in dream-bound
recognition, to a figure from the far, far past.
2004,16mm, color/sound, 8 min. $30 Rental
“Startle Pattern” is a deconstruction of spectatorship
and authorship in the moving image.
In the late age of film, emulsion, this essay is a
call of the cinematic gaze to a state of crisis. An
interior space of a puppet becomes increasingly
reflective, revealing the artifice of his own
creation, and leaving his form tattered and decayed.
The narrative of isolation hints at the film
Protagonist’s delicate relationship with reality,
voyeurism and the apparatus.
2005, 16mm, color/sound, 12 min. 50 sec. $50 Rental
In Backcomb the demonic is unleashed on domestic
space. It takes the form of two of femininity’s
mildest tokens, hair and embroidery, that serve here
in the creation of a sexualised surrealist experience.
Within the claustrophobic space of a table-lay, a
forceful and erectile mass of hair comes alive and
slithers across its surface. The hair probes into
vessels and punches through the cloth till finally
order overturns and all smashes to the ground.
1995, 16mm color/sound 6min. Rental
Milk and Glass
In this film an interior landscape is scrutinised, and
an apparent rational calm is revealed as suffocating.
Milk and Glass is an evocative journey from surface to
interior – a black-coated mirror, the hollow of a
bowl, a cavernous throat; a brush demarcates a line of
lip on a flat surface, a mouth doubles up with the
bowl and is virtually spoon-fed till it chokes.
1993, 16mm, color/sound, 10 min. Rental $30
Swollen Stigma nourishes the fantasy of its
protagonist’s inner life and proposes a lesbian
imaginary which takes leap into risk and displacement.
The film opens with an entranced seated woman working
her fingers through a single strand of hair and
proceeds to explore her lived imaginary in which
desire and fear interlace. She re-visions different
moments in time which are haunted by an absent lover.
Like a playful fairy princess, this lover appears
upside down in an armchair, hanging legs-down from the
ceiling, playing dead on the floor, or eating roses;
her body continuously permeates the woman’s reality.
The film’s shifting points of view jump between the
protagonist, fantasy spaces and her lover, making an
internal world leak into what is external with the
fluidity of blood into water.
1998, 16mm color/sound, 20min Rental $65
You Be Mother
You Be Mother uses stop-frame animation to disrupt the
traditional orders of animate and inanimate, the fluid
and the solid. An hallucinatory space is set up when a
frozen image of the artist’s face is projected onto
weighty pieces of crockery atop a table. Ears, eyes,
nose and mouth, all become spatially dislocated as a
determined hand begins to reposition, decant and mix.
Events unfold to the amplified sounds of grinding,
pouring and stirring.
1990, 16mm color/sound, 7min. Rental $25
The death of a child triggers this collection of
personal reflections on grief and loss. When he was
nine, the filmmaker’s seven-year-old brother died.
Decades later, this loss remains a painful and
haunting memory. His parents did not know how to cope
with their son’s death, and the entire family
experienced indescribable pain.
Phantom Limb uses this personal story as a point of
departure. The film is loosely structured according
to the stages of grieving. Whether loss is through
death or divorce, individuals often go through denial,
anger, bargaining, depression and, ultimately,
acceptance, in order to heal. Interviews are
interspersed throughout this poetic documentary,
including a surprisingly upbeat cemetery owner and a
man whose own phantom limb is a painful and constant
reminder of what he is missing. Phantom Limb shows
viewers that while grief is painful and isolating, it
is a reminder to each of us that life is impermanent.
Belgrade Documentary and Short Film Festival, Serbia
Best Short Documentary
Florida Film Festival
Black Maria Film & Video Festival
Best International Short
Prends ça court, Montreal
Special Jury Award
Seattle International Film Festival
Onda Curta Short Film Award
Silver Wolf competition
International Documentary Film Festival Amsterdam
Distinguished Documentary Award nomination
International Documentary Association (IDA)
Screened at over 60 festivals worldwide
“A 28-minute tour de force… a beautiful and original
exploration of grief and loss.”
-Mick La Salle
San Francisco Chronicle
“Loosely structured around the stages of grief, it’s
visceral, poetic, intelligent, and, finally,
San Francisco Magazine
“A richly crafted portrait of absence/presence that
thoughtfully weaves together intimate and candid
interviews with unexpectedly transcendent cultural
Professor, Department of Cinematic Arts
University of New Mexico
“Phantom Limb has that strange, rare and haunting
power of being something new each way and every time
you look at it.”
Director, Revelation Perth International Film Festival
“A brilliant work of art.”
2005, 35mm color/sound, 28 min. Rental $150
Script, Direction, Design, Sound, Editting, Michael
Snow. Actors--Hilda Hashempour, Mac Ebrahimzadeh,
Ramin Yazdi. Camera Luc Monpelier. Production
Stephanie Markowitz, Jennifer Weiss. Translation, Mani
Mazinani. Funding Assistance, The Canada Council
Writing about my films has sometimes discussed the
'narrative' aspect or 'reading' of some of my
'pictorial' nature, which is much more important.
Reflecting on this, I realized that I have never
wanted to make a purely narrative film, never had and
therefore perhaps I should. Perhaps I should finally
make a film that really tells a story. Thus
This can be seen but can it be said? I wrote the
script, designed the set, directed the shoot and
supervised the sound-mix and edit. The staged action
was shot beginning with a camera hold on the
apartment's inner doors. A man arrives carrying a
wrapped-up painting. He is greeted by a woman. He
unwraps the painting, shows it to her. The camera
follows them to a central position in the apartment. A
dispute develops and the painter smashes the painting
he's just brought over the head of the woman's
husband. The camera follows the painter and the wife /
lover back to the door. He exits, she walks away.
There is dialogue, in Farsi, but there are subtitles
The film of the above-described scene was cut exactly
in half and the two halves of sound and picture as
super-imposed. This makes a simultaneity of actions
that occurred 'linearly'. Before and After become a
Transparent Now Arrival and Departure are united. It's
truly 'filmic', one transparent film over another.
It's a 'painting' about a painting. I was very
concerned with the mobile color mixing that would
eventually happen. Colors were carefully chosen as I
tried to predict how they would mix and interact. I
make 'pictures' and the experience of looking at them
is more important than the 'elsewhereness' of a story,
even in this, my most 'story-telling' film. In that
respect, part of the perception or 'reading' of the
film involves one's choices of what went before and
what came after in the actual pre-filmic event. The
use of Farsi and the over-laying of the English
subtitles were ways of adding two other layers of
complexity. The film was designed to be seen several
times, not just once. In my 1974 four-and-a-half-hour
film Rameau’s Nephew, I used many different languages.
Ones hearing of an unfamiliar language tends the mind
toward the ways in which one listens to music. Speech
is then more purely sound than sense. Meaning doesn't
cancel hearing. A modest political edge: adultery and
drinking alcohol can be severely punished in Iran.
Part of the original conception was that one could
satisfyingly see / hear the episode-on-episode several
times. Repeated viewing reduces the strength of the
realism and makes it possible for one to see truly the
artifact (or, the construct), the artificiality, the
art. There are, literally, layers to it and I believe
that each time one sees 'it' one sees it differently.
One may concentrate for example, on the moving
color-mixing, or what happen to the painting or the
subtitles, or the way the speech and music are
superimposed on each other. And as memory can be
questioned, one may question ones memory as to whether
each repeat is in fact the same. Were alterations
The title is of course the word SHORT printed right on
top of the word STORY.
2005 35mm color/sound, 30 minutes $150 Rental
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.