jefferson presents...#83 09/29/07

From: ADAM ABRAMS (email suppressed)
Date: Sun Sep 23 2007 - 09:15:54 PDT

Jefferson Presents...#83
Sat. 09/29/07, 9:00PM
$5, $4 Students
Garfield Artworks,
4931 Penn Avenue

Bill Brand

Coalfields (1984) 16mm color, sound, 38.5 min
West Virginia industrial landscapes are collaged through a series of mattes that transform the photographed scenes into a kinetic field of shapes and spaces. While the technique and the emotional tone are reminiscent of the earlier are more purely personal CHUCK'S WILL'S WIDOW (1982), the new film extends the already complex visual idiom by inlaying social, sexual, and personal and political subjects. Woven into the fabric of the film is the story of Fred Carter, a retired coal miner and black lung activist who was framed by the Federal Government into order to undercut the black lung movement and to stop his bid for president of the UMWA. His story is told through fragments of documentary interviews and by a poet whose narrative is a counter theme in the film. The thematic elements and formal approaches sit in precarious balance. COALFIELDS has an original poetic text by Kimiko Hahn and sound composition by Earl Howard.

John A. Cutaia

Rituals (1969) 16mm, black and white, sound, 12 min
In 1966 RITUALS was 'voted one of the all time best movies of the UCLA film department.'--(Nat Freedland, Cavalier, Feb./68). Conservative members of the faculty subjected to pressures from politicians in Sacramento and perhaps themselves a little nauseated at the realism of a sequence depicting the frustrated girl freaking on acid, via a razor blade, ordered the film banned. After two years of negotiation with University officials, Cutaia finally secured its release. --J. C.

John Hawkins

LSD Wall (1965) 16mm, color, sound, 6.5 min

An attempt to reproduce some visual hallucinations while on a trip (a number of years ago), done in the major portion with clay animation. On the average, it took one hour to shoot one-half second's viewing time. I felt that clay was the best medium to demonstrate what one might see under the drug experience. --J. H.

Kyo Ozawa

Sutra (Tribute to J Coltrane) (1968) 16mm, black and white, sound, 7 min
"this film is made for the people who try to live and will try to live furthermore. And, again, the film is dedicated to the late great musician, John Coltrane, whose works showed us the true joie de vivre".

Sidney Peterson

Mr. Frenhofer And The Minotaur (1949) 16mm, black and white, sound, 20.75 min
Based on Le Chef-d'Oeuvre Inconnu, Balzac's Abstract Expressionist parable. "... should be studied by experimental filmmakers in every detail." -- Parker Tyler "We are at the crux of Peterson's genius: his ability to formulate a new perspective and to test its implications." -- P. Adams Sitney

Luther Price

Sodom (1989) 16mm, color, sound, 20 min
SODOM is viscerally graphic and disturbing through its hypnotic mirage of human fragment absorbed in mutilation. Based on the biblical story, SODOM recreates this destruction through an editing style that lends itself to a kind of organic image breakdown, creating a collage of moving image.

Warren Sonbert

Honor and Obey (1988) 16mm, color, silent, 21 min

"...what was clear was Sonbert's absolute mastery of form." -Elliot Stein, Film Comment "In Warren Sonbert's HONOR AND OBEY soldiers march in formation, a tiger stalks through the snow, religious processions wind through the streets, and palm trees wave in a tropical breeze. As brightly colored images of authority figures blend into scenes of cocktail parties, this 21-minutes silent film flows along with the grace of a musical score built on complex tensions hidden among notes. 'Whose authority will you obey?' the film seems to ask, as it deftly avoids simple minded juxtapositions. Instead, we see a melange of images so full of geography (Notre Dame Cathedral, The Sydney Opera House, Fifth Avenue) , that the work mocks the idea of any specific setting. Sooner or later, social and natural laws meet and probably clash, Mr. Sonbert suggests, but in this scenario of discrete images, all is apparent harmony. HONOR AND OBEY is by far the most accomplished and rewarding piece in 'Avant-Garde Voices,' the title covering five works by independent filmmakers shown at the New York Film Festival ..." Caryn James, The New York Times
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