Los Angeles Filmforum presents the Festival of (In)appropriation on June 7

From: Adam Hyman (email suppressed)
Date: Sun May 10 2009 - 17:32:46 PDT

This show is available for preview & traveling if any other venues are
interested. Please contact me if you are.


LOS ANGELES, January 20, 2009 ­ Los Angeles Filmforum presents The Festival
of (In)appropriation: Contemporary Found Footage Filmmaking, with an
innovative array of contemporary films and videos received by open call.
The screening will take place on Sunday, June 7, 2009 at 7:30 pm at the
historic Egyptian Theater in Hollywood.

Whether you call it collage, compilation, found footage, detournement, or
recycled cinema, the incorporation of previously shot materials into new
artworks is a practice that has generated novel juxtapositions of elements
which have produced new meanings and ideas that may not have been intended
by the original makers, that are, in other words ³inappropriate.² This act
of appropriation may produce revelation that leads viewers to reconsider the
relationship between past and present, here and there, intention and
subversion. Fortunately for our purposes, the past decade has seen the
emergence of a wealth of new sources for audiovisual materials that can be
appropriated into new works. In addition to official state and commercial
archives, vernacular archives, home movie collections, and digital archives
have provided fascinating source material that may be repurposed in such a
way as to give it new meanings and resonances.

In this program, Filmforum brings together a selection of innovative recent
films that appropriate footage from diverse sources in vastly different
ways. Our goal in choosing these films is to show the range of approaches
contemporary filmmakers are taking in repurposing found materials. Indeed,
tonightıs films push the boundaries of the ³found footage² film, raising
questions about how we define ³found footage² filmmaking in an era in which
ever more materials are available for reuse in ever more complex ways. We
believe that together, these films reveal how (in)appropriation is
flourishing at this social and historical moment.

Los Angeles Filmforum Presents

The Festival of (In)appropriation: Contemporary Found Footage Filmmaking at
the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles CA
Sunday May 31, 2009, 7:30 pm
General admission $10, students/seniors $6, free for Filmforum members.
For reservations please email email suppressed

Los Angeles Filmforum is the cityıs longest-running organization that
screens non-commercial experimental and avant-garde films and video art,
documentaries, and animation. 2009 is its 33rd year.

Curated by Jaimie Baron and Andrew Hall. The festival includes:

Khan by Daniel Martinico (2008, video, color, sound, 15-min. loop)
³William Shatner, twitching and tweaking in various poses, occasionally
screaming out Khanıs name.² (Daniel Martinico)

The Blockbuster Tapes by Daniel Martinico (2008, video, 5 min.)
³This Œfilmı serves as the documentation of a project I did back in
1999-2002. Over a period of 3 years, over 100 videos were rented from
Blockbuster, manipulated, re-recorded back onto tape, and returned to the
store.² (Daniel Martinico)

Through these Trackless Waters by Elizabeth Henry (2007, 16mm, color, sound,
12:30 min.)
³In the tradition of the collage film, a series of fragments add up to a
meditation on the state of nature in which ecology of mind meets ecology of
earth, and vice versa.² (Elizabeth Henry)

Utopia Variations by Gregg Biermann (2008, video, sound, 5 min.)
³Utopia Variations is part of a series of video works that use the
computational capacity of computers to transform iconic moments in works of
classical Hollywood cinema. In this piece the ³over the rainbow² sequence
from The Wizard of Oz moves forward from the beginning and backwards from
the end in half second intercuts. This gradually builds to a 25 voice
split-screen canon in which each voice is slightly out of synch. The
resulting matrix is mesmerizing, kaleidoscopic.² (Gregg Biermann)

Time Away by Aubriand a.k.a. Carole OıBrien (2007, video, color, sound, 7:15
³Roads as far as the eye can see. Signposts are glimpsed and people from
another time are lost, en route to inner worlds of the mindŠDebating the
nature of time, three voices navigate the continuously moving space and lead
us through grief to the transformative end of the road: time away changes
what you thought you knew.² (Aubriand)

The Game by Tasman Richardson (2007, video, color, sound, 3:52 min.)
³A world of remote control warfare, hyper-reality, and military crafted
videogames for recruitment. Emilio Estevez, Matthew Broderick and even
Burroughs join in. All edits are strictly JAWA style, a.k.a. what you see is
what you hear and the edits are 100% responsible for the rhythm and melody.
Nothing added and nothing synched. Most importantly, this is done entirely
with manual cut and paste and layering. No triggers, no shortcuts. Pure
JAWA.² (Tasman Richardson)

Her Heart is Washed in Water and Then Weighed (Sasha Waters Freyer, 2006,
12:45 min., 16mm)
³Her Heart is Washed in Water and Then Weighed is a meditation on motherhood
and mortality that takes its title from a procedure in the autopsying of a
human corpse. Subtle juxtapositions evoke parallels between static monuments
and living families and suggests what is lost to time and age.² (Sasha

TB TX Dance by Roger Beebe (2006, 16mm, 2:30 min.)
³The background of the image is made of patterns of dots directly laser
printed on clear leader. That background also doubles as an optical
soundtrack with different pitches created by the density of the dots. The
dots were inspired by the stockings Toni Basil (ŒAntonia Christina
Basilottaı) wore in Bruce Connerıs Breakaway in 1966, which also serves as
the source footage for the dancer in the film. Toni Basil herself is a
source of inspiration for all 30-somethings who havenıt yet made enough of
their lives. (She was 39 when ŒMickeyı was a hit in 1982.² (Roger Beebe)

Untitled (³Tiny Bits²) by Sandra Gibson (2009, 16mm, color, silent, 3 min.)
³Bits and Pieces of film are chopped up and reconfigured in the optical
printer. A Œslide showı of sorts that moves from fast-to-slow to slow down
the tempo of perception.² (Sandra Gibson)

windshield baby gameboy movie by Clint Enns, (2009, video, color, sound,
1:47 min.)
³Images of a car crash are digitally interpreted using a Nintendo Gameboy
Camera. This video is an attempt to demonstrate the inherently dehumanized
nature of video game images.² (Clint Enns)

Intermittent Delight by Akosua Adoma Owusu (2006, 4:20 min.)
³Intermittent Delight juxtaposes close-ups of batik textiles, fashion and
design from the 1950s and 1960s, images of men weaving and women sewing in
Ghana, and fragments of a Westinghouse 1960s commercial ­ aimed to instruct
women on the how-to of refrigerator decoration. Constructed from a
combination of 1960s Afrobeat, traditional Asanta Adwa music, and field
recordings of West African men and women producing cloths and garments, the
soundtrack pulls the piece together and imbues it with a jolty and festive
tone.² (Akosua Adoma Owusu)

Flicker On Off by Caroline Koebel (2008, video, b&w and color, sound, 20:12
³Flicker On Off is a trilogy applying the idiom of experimental film and
artistıs video to big budget movies in order to speak about world affairs in
which could be described as an alternative format.² (Caroline Koebel) Part
I: Repeat Photography and the Albedo Effect (8:12 min.), Part II: Sunroof
(Bhutto Benazir Assassination) (6:10 min.), Part III: All the House (Haditha
Massacre) (5:50 min.)

Speechless by Scott Stark (2008, 16mm, color, sound, 13 min.)
³3D photographs of human vulvae are animated and interwoven with surfaces
and textures from natural and human-made environments. The genital images
were taken from a set of Viewmaster 3D reels that accompanied a textbook
entitled The Clitoris, published in 1976 by two medical professionals.²
(Scott Stark) Sound by Greg Headley.
*Note: This film is extremely graphic and probably not appropriate for
children. In addition, the editing made at least one of the curators feel
sick to her stomach.

Total Running Time (with 10 min. intermission): 100 min.

This screening series is supported, in part, by the Los Angeles County Board
of Supervisors through the Los Angeles County Arts Commission and the
Department of Cultural Affairs, City of Los Angeles.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.