From: ADAM ABRAMS (email suppressed)
Date: Thu Apr 24 2008 - 06:50:41 PDT
Jefferson Presents ... Experiments on Film #89:
WHEN: Saturday, April 26, 2008, 9PM
WHERE: Garfield Artworks 4931 Penn Ave.
HOW MUCH: $5/$4 students, seniors
Wolf Vostell - "Four Films" (196*) 16mm, black and white, silent, 21 min
"The four films included in this reel are: SUN IN YOUR HEAD(1963); 20
JULI 1964 AACHEN (1967); STARFIGHTER (1967); NOTSTANDSBORDSTEIN
(1967). The first one, and the last one of the four, can also be
performed with actions and audience participation. All four films
originated as parts of other shows performed by Vostell. -Jonas Mekas
Malcolm LeGrice - "Talla" (1968) 16mm, black and white, silent, 19.75 min
... is the most narrative/subjective film I have yet made. Because all
the material was shot by me in a week or so it has location continuity,
which becomes very important in the film. --M. L. G.
Tom Palazzolo - "Love It/Leave It" (1973) 16mm, color, sound, 14 min
"LOVE IT/LEAVE IT is a raucous treatment of patriotic color, football,
nudity and parades set to a refrain of 'Love It' and coalescing into
Tom Palazzolo's nightmare rendition of America the Awful. It sounds the
theme song of this program [at the Whitney] and gives you a pretty good
start on deciding to 'Leave It.'" -- Archer Winston, New York Post
Werner Nekes - "Hurrycan" (1979) 16mm, color & b/w, sound, 80.5 min
"Hurrycan has nothing to do with whirlwinds, although in this Nekes
film the pictures journey across the screen, excitedly, spasmodically
and flickering. The title weds the element of haste with the notion of
a film can. Which in this case turns out to be something of a Pandora's
Box and contains expectations for a new way of seeing. A computerized
shutter system that Nekes had built now precisely controls the
complicated interlocking of agitated images. The unexposed film runs
through the camera several times in succession. According to a
predetermined plan, only specific frames, so called 'Kinefelder' (at
least two of them are needed to attain visual motion) are exposed. What
has been filmed appears to be 'normal' enough on screen. Yet it seems
segmented, somehow new and assembled in a strange fascinating way.
Nekes works with film images like a composer with polyphonic
structures. The motif appears in many variations. diversely
super-imposed. conducted contrapuntually and in unison. Nekes calls
this prinicple 'polyvisual'. Art historians are familiar with such
modes of perception since cubism, which operated with simultaneous
views of one and the same object."
Barbara Hammer - "Pond & Waterfall" (1982) 16mm, color, silent, 15 min
"The camera eye is like an amphibian that sees on two levels in its
journey from underwater in a safe pond down to a violent, turbulent
ocean. -- Kathleen Hulser, Centre Georges Pompidou Brochure
Michelle Handelman - "Safer Sexual Techniques in the Age of Mechanical Reproduction" (1988) 16mm, color, sound, 10 min
Working from the premise that there is no such thing as safe sex, this
film is designed as an arcane storybook with each sexual act being
contained within a 100 ft.-roll of film. A structural film with
content, each roll contains layers of sexual illusion amid subliminal
messages created by in-camera effects. The soundtrack starts from a
single cat's purr and is manipulated with each sexual act, creating a
climatic fever sounding like a buzzing chainsaw.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.