Re: Fwd: Carolee Schneeman introduces The Hart of London at Light Industry, Tomorrow!

From: 40 Frames (email suppressed)
Date: Tue Mar 30 2010 - 19:07:03 PDT

Love this film... hope to see it again one of these days. The print we
rented from FMC looked good, and projected well.


On Tue, Mar 30, 2010 at 7:45 AM, Ed Halter <email suppressed> wrote:

> Tomorrow, Wednesday night, at Light Industry!
> Just perfect for all those folks who can't do Tuesdays.
> ---------- Forwarded message ----------
> From: Thomas Beard <email suppressed>
> Date: Sat, Mar 27, 2010 at 8:30 PM
> Subject: The Hart of London
> To: email suppressed
> *The Hart of London
> *
> Jack Chambers, 16mm, 1970, 79 mins
> Introduced by Carolee Schneemann
> Wednesday, March 31, 2010 at 7:30pm
> 177 Livingston Street, Brooklyn - *PLEASE NOTE NEW ADDRESS*
> Perhaps it was ten years ago that the artists Arakawa and Madeleine Gins
> told me of a scientist researching optical physiology. He had determined
> that cats would be his living subjects. To this end he had constructed a
> three-story-high narrow cylinder. Along its interior vivid images were
> pasted, illuminated. Photographs within these cylinder walls depicted
> elements interesting to cats: brightly colored birds, bowls of food,
> shimmering fishes, wild animals, human faces. The experiment was contrived
> to photograph the last retinal image mirrored on the pupils of the cats
> immediately after their death--killed from the impact of being thrown down
> the narrow cylinder.
> If there could be a retinal analysis of imprinted filmic imagery, expanded
> in time by description, compressed as memory, as an intensity of linked
> recognitions--this optical imprint on my inner vision would be inscribed
> with fragments from the films of Jack Chambers.
> Perhaps, my first viewing of Jack Chambers' films occurred shortly after
> being told of the sadistic cat experiment. A few years later, I was able to
> teach his indelible works during a year as film faculty at the San Francisco
> Art Institute. Associations with the brutal cat experiment recurred, when I
> realized I would have to lock my students in the film viewing room if they
> were to see the complete projection of *The Hart of London*. Unlike the
> cats, whose volition was stolen from them, my students stood scratching at
> the locked door insisting. "We're not watching this!"
> They could close their eyes, but could I shift their resistance to the
> gestural flinch and muscular reciprocity of Chambers' images: moist animal
> eyes, spurt of blood, birthing of a human infant, fire, shadow--this
> threshold of spectral literalizations that the mad scientist had intended to
> capture on the retina of the just-dead cats? Could I brand the students'
> vision with Chambers' fleeting forms, their flash and tumble, an energy
> which tosses us into an unconscious ecstatic terror? Because Chambers'
> images emerge as if structure in time is propelled, an eddying, oceanic
> force; edited so that we viewers are engulfed by the rhythms of an
> inspiration as challenging and unstable as the invisible sources of
> imagination itself.
> So that suddenly we inhabit a ghost city constructed before our very eyes,
> a hundred years ago. Blacked swirl of smoke. Muscular gestures, men
> laboring. Darkening clouds. Rail tracks' horizontal spin into receding
> horizon, parried dissolve of vertical smokestacks ascending. Ascending.
> Incandescent shapes emerge, dissolved into grains, celluloid falling snow.
> Dissolve. Intercut to black.
> Dissolve to whitened/greyed curly fur. Close-up sheep's eyes glistening
> terror: sacrificial ballerinas balanced on planks, facing the camera eye.
> Slaughterhouse blades gash. Lens eye splattered. Exploding blood. Indelible
> chaos. (Domestic food chain.) Intercut to black. - Carolee Schneemann
> Jack Chambers is one of Canada's most famous and greatest living painters.
> Why then have his films been as neglected as they have been? I feel that it
> is because his films do not arise as an adjunct to his painting (as is true
> in the case of most other painter film-makers) but that, rather, Jack
> Chambers has realized the almost opposed aesthetics of paint and film and
> has created a body of moving pictures so crucially unique as to fright paint
> buffery: thus his films have inherited a social position kin to that of the
> films of Joseph Cornell in this country. The fact is that four films of Jack
> Chambers have changed the whole history of film, despite their neglect, in a
> way that isn't possible within the field of painting. There are no "masters"
> of film in any significant sense whatsoever. There are only "makers" of film
> in the original, or at least medieval, sense of the word. Jack Chambers is a
> true "maker" of films. He needs no stance, or standing, for he dances
> attendance upon the coming-into-being of something recognizably new: (and as
> all is new, always, one must question the veracity of all works, whatever
> medium, which beseem everything but that truth). - Stan Brakhage
> Tickets - $7, available at door.
> <>
> __________________________________________________________________ For
> info on FrameWorks, contact Pip Chodorov at <email suppressed>.

Alain LeTourneau
Pam Minty
Attention: Pam Minty
PO Box 15207
Portland, OR 97293
+1 503 231 6548
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.