From: ADAM ABRAMS (email suppressed)
Date: Thu Jul 19 2007 - 11:05:03 PDT
Jefferson Presents...#81Experiments on FilmSat. 07/28/07, 9:00PMGarfield Artworks4931 Penn Avenue, Pittsburgh$5, $4 StudentsRudy AlbersSilent Music
(1967) 16mm, color, silent, 14 minA
film experimenting with the use of multiple exposed colored lights
evoking the mystery of creation, stars and planets, atoms and
electrons, souls and spiritsBill BrandChuck's Will's Widow
(1982) 16mm, color, silent, 12 min...
weaves a complex of feelings and personal associations into a swirl of
landscapes and abstract images. Jagged shapes swarm the surface acting
variously as frames, veils and component elements of the photographic
images. Though formally extreme the film's emotional quality emerges in
subtle and gentle ways.Tom ChomontOblivion
(1969) 16mm, color, silent, 4.25 min"Successfully
blends elements from both the poetic and diary modes. In the process
Tom Chomont has created one of the few truly erotic works in cinema."
-- J. J. Murphy, "Reaching for Oblivion" Millennium Film Journal,
"Exquisitely erotic... a shimmering fantasy..." -- Kevin Thomas, Los
Angeles Times, February 1976James DouglasSpeed Queen
(1969) 16mm, black and white, sound, 9.5 minA personal fantasy. Repeating and recurring images. Grain, hesitation, flash, black, and light rhythm rhythm. --J. D.Standish LawderRaindance
(1972) 16mm, color, sound, 16 minRAINDANCE
plays directly on the mind through programmatic stimulation of the
central nervous system. Individual frames of the film are imprinted on
the retina of the eye in a rhythm, sequence, and intensity that
corresponds to Alpha-Wave frequencies of the brain. RAINDANCE becomes
an experience of meditative liberation beyond the threshold of visual
comprehension. Vision turns inward. The film directs our mental
processes, controlling how we think as well as what we see. Images fuse
with their afterimages, colors arise from retinal release of exhausted
nerve endings, forms dance across short-circuited synapses of the mind.
RAINDANCE was made entirely from a scrap of found footage taken from an
old animated cartoon representing a sheet of falling rain. The cartoon
was called, "The History of Cinema."Warren SonbertCarriage Trade
(1971) 16mm, color, silent, 60.75 min"In
CARRIAGE TRADE, Sonbert interweaves footage taken from his journeys
throughout Europe, Africa, Asia, and the United States, together with
shots he removed from the camera originals of a number of his earlier
films. CARRIAGE TRADE was an evolving work-in-progress, and this
61-minute version is the definitive form in which Sonbert realized it,
preserved intact from the camera original.
"With CARRIAGE TRADE, Sonbert began to challenge the theories espoused
by the great Soviet filmmakers of the 1920s; he particularly disliked
the 'knee-jerk' reaction produced by Eisenstein montage. In both
lectures and writings about his own style of editing, Sonbert described
CARRIAGE TRADE as 'a jig-saw puzzle of postcards to produce varied
displaced effects.' This approach, according to Sonbert, ultimately
affords the viewer multi-faceted readings of the connections between
shots through the spectator's assimilation of 'the changing relations
of the movement of objects, the gestures of figures, familiar worldwide
icons, rituals and reactions, rhythm, spacing and density of images."
-- Jon Gartenberg, program note for CARRIAGE TRADE, Whitney Museum of
American Art, New American Filmmakers Series, October 11-17, 1973
Don't get caught with egg on your face. Play Chicktionary!
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