jefferson presents...faccinto, frampton, gidal: experiments on film no.100, sat. 04/25/09

From: ADAM ABRAMS (email suppressed)
Date: Fri Apr 24 2009 - 13:46:19 PDT

                                                                        Jefferson Presents...Experiments on Film no.100, Sat. 04/25/09, 8:00pm
                                                                    Jefferson Presents ...Experiments on Film no.100
WHEN: Saturday, April 25, 2009, 8pm
WHERE: Garfield Artworks, 4931 Penn Ave., Pittsburgh, PA
HOW MUCH: $5/$4 students, seniors
This is screening #100. Sex, death, etc. All in original 16mm film. Adults only, please.Victor

Shameless (1974)
16mm, color, sound, 13.5 min

Genre: Animation,

Keywords: Films
about Film, Media

Cut-out puppet animation. Not recommended for gentle
sensibilities. Plagued by his redundant existence, Video Vic follows
his instincts into an outer space environment, where he is faced with
the cruel realities of his linear life. "Victor Faccinto's last
cut-out film SHAMELESS exhibits a tension within the form. As real
penises penetrate paper vaginas, and cut-out men investigate
life-sized female parts, the film implies a potential synthesis of
metaphoric and real action; the film also suggests the exhaustion of
purely cut-out imagery by manipulation of materials, only now it is
the film itself which is scratched, painted or cut." -- Ian
Birnie, Art Gallery of Ontario


Red Gate, The (Magellan at the Gates of Death Part I)
16mm, color, silent, 52 min

Genre: Experimental

"In the final format for MAGELLAN, Frampton had planned to
disassemble these two films into twenty-four 'encounters with death'
that were to be shown in five-minute segments twice a month. In their
present state, seen together and roughly the length of an average
feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH
constitute perhaps the most gripping, monumental, and wrenching work
ever executed on film...Frampton in 1971 began his filming of
cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He
returned to the lab four times over the course of the next two years
and then spent nine months assembling his 'forbidden imagery' into an
extraordinary meditation upon death."--Bruce Jenkins


4th Wall (1978)
16mm, color, silent, 38.25 min

Genre: Experimental

"Gidal's camera movements, are at one level predicated on the
sensual lure and the visual pleasure which he derives from the
objects looked at (already an aware sublimation of a sexual object
onto another even before the film is shot). The camera slowly moves
over the beautifully paterned bedspread (or rug, which Gidal chooses
because he already finds it visually pleasurable), and even where it
encounters objects with no intrinsic implications of beauty, their
separation (framing) from their visual and more important, utility,
contexts transforms them into 'to be looked at objects.'"
--Malcolm LeGrice, Millenium Film Journal

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