Jefferson Presents...#76 02/23/07

From: ADAM ABRAMS (email suppressed)
Date: Tue Feb 20 2007 - 10:40:37 PST

<img src="">Jefferson Presents...7th Anniversary (#76)Friday 02/23/07, 8:00PM; $5, $4 Students; Garfield Artworks, 4931 Penn AvenueGeorge Kuchar:The Nocturnal Immaculation Two men, two women, one God and many devils. Add a pinch of vengeance and a dash of mental illness, let simmer with high ideals, then take a mouthful and hang over the railing. 1980, 16mm, b&w/so, 27mYolanda Starring Michelle Joyce in her first color film with me. A film about a housewife obsessed with the idea of a large hairy creature, 12 feet tall, with big feet. Chronicles her eventual breakdown in no uncertain terms.1981, 16mm, color/so, 22mRose Lowder: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 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 fields. 2001, 16mm color/silent preferably 18 fps, 2.6 minutes BOUQUETS 21-30 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 needed. 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. Gaudens, 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 d¹Aujac 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 l¹Oule, 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. HABITAT BATRACHIAN 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?2006, 16mm color/silent, 24 fps, 8.31 minutes Curt McDowell:Boggy Depot (A Musical for the Whole Family) by McDowell and Ellinger. A rural operetta starring Ainslie Pryor and George Kuchar, told through song and rhyme. "I was glad to see Curt McDowell's BOGGY DEPOT win an award, since it was the funniest film in the festival, an off-key musical parody of West Side Story ...." - Michigan Daily "In BOGGY DEPOT, Curt McDowell and Mark Ellinger, aided by lampooned ballads and broad, properly hammy acting, mercilessly rib the romantic musical genre." - The New York Times 1974, 16mm, b&w/so, 17mNudes (A Sketchbook) "Curt McDowell's NUDES (A SKETCHBOOK) is a paean to the filmmaker's closest friends: a series of portraits (beginning with one of George Kuchar) based on stylized, often graphically sexual interpretations of his or her personality. My favorites are 'Barbara,' a pre-Raphaelite vision of woman and 'Ainslie,' a musical spoof on glamour. The filmmaker's point of view ranges from compulsively erotic to light-hearted and self-debunking. A broad reading of the term 'romantic' would probably best describe the spectrum of extreme, even outrageous, possibilities which Curt embraces in this sketchbook/film." - Karen Cooper, Film Forum "What is interesting about the film is how each vignette constitutes a small, coherent narrative and thrusts a certain psychological characterization on the figure it examines .... McDowell's irony is submerged and gentle, and NUDES constitutes a highly ambiguous (and fundamentally male) catalogue of sexual probabilities." - Lucy Fischer, The Soho Weeky News "I was very proud of him - he's finally made a film - NUDES - it's the first film of his with any real feeling for his subject. That's the one - it's the most personal, the one I'd like to see again." - James Broughton 1975, 16mm, b&w/so, 30m
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