[Frameworks] Program Lineups

From: TIE (email suppressed)
Date: Mon Sep 27 2010 - 04:01:12 PDT

TIE, The International Experimental Cinema Exposition

Program I:

Vincent Grenier (with special assistance of Ann Knutson, Canada, 1978, 16mm, silent, 15 min.)
“‘Interieur Interiors (To A.K.)’ creates a cinematic space that remains separate from representation, severed from the profilmic but nevertheless presenting an illusion of space. It is a film that hovers between conceiving the interrupted projection beam as an image... and conceiving it as a non-image, a mere illumination of the surface on which it falls. The gap between these extremes is posed by Grenier’s film as the raw data of cinema, the interval in which structural aspects of the medium’s depiction of space are revealed.”
- Grahame Weinbren and Christine Noll Brinkmann

Hannes Schüpbach (Switzerland, 2000, 16mm, silent, 9 min.)
An accomplished painter and expert on textile art, Schüpbach uses 16mm cinematography to explore cinema’s painterly dimensions, bringing to his films a keen attention to color and light and their effect on mood and tempo.

Vincent Grenier (Canada, 1979, 16mm, silent, 5 min.)
"Is it happening in the screening room or on the screen; in a snowstorm or inside; what isn't surrounding and what is? From filming Ann sewing, on a grey winter day."

Robert Todd (USA, 2010, 16mm, silent, 34 min.)
Robert Todd’s lyrical films demonstrate a masterful command of the medium.


Program II (four sections):

Section 1:

Lawrence Jordan (USA, 2010, 16mm, optical sound, 24 min.)
On ancient star maps of magnificent color quality, the experimental animator, Lawrence (Larry) Jordan, takes the viewer out of this world into a world of cosmic imagination.

Section 2:

Andres Denegri (Argentina, 2010, 35mm-1.85, stereo sound, 21 min.)
The filmmaker's personal family photographs and Super-8 films are bleached, tortured and painted with beautiful elegance via interweaving compositions.

Felix Dufour-Laperriere (Canada, 2009, 35mm-1.85, Dolby Digital sound, 8 min.)
This textured and sensory film alternates density and release, tension and soft fall, animation, geometric abstraction and digital manipulations.

Felix Dufour-Laperriere (Canada, 2010, 35mm-Cinemascope, stereo sound, 6 min.)
Shortened form of striptease. From strip, to remove, to take away, and tease, to entice, to tempt. And then all this in plural.

Johann Lurf (Austria, 2009, 35mm-1.85, Dolby Stereo 3 min.)
Three minutes and 3664 subliminal frames of other films cut out and stuck together by the filmmaker during his days as a projectionist.

Section 3:

Jonathan Schwartz (USA, 2010, 16mm, optical sound/silent, 3 min. each)
From the 33 1/3 Series (an album of eleven 'in-camera' 16mm films)

Benjamin Balcom (USA, 2009, 16mm, 14 min.)
"Here are the perceptions of an individual body amidst hazards of confusion and separation. Using the optical printer to investigate the surface of a re-photographed image the physical world is made to activate cognitive patterns and describe certain parameters of internal experience. This is the liminal space in which the mind confronts the dynamics between movement and obstruction."

Douglas Graves (USA, 2010, 16mm, optical sound, 8 min.)
A surreal impression of a neighborhood on 16mm film. Montage, camera work, and sound design create a roller coaster ride of emotions and sensations that takes the audience into the heart of the secrets and mysteries of a neighborhood called Palms.

Section 4:

Kyle Glowacky (USA, 2010, 16mm, sound, 20 min)
IOKA is a portrait of Exeter, New Hampshire's historic 1915 movie house. It recently closed down in 2008 due to the strict state fire codes and the need for upgrades, economic recession and lack of patronage.

Tim Leyendekker (Netherlands, 2010, 35mm-1.66, Dolby SR 10 min.)
The Healers is a deconstructive reconstruction of a memory set in the 90's nightlife. Layers that normally form a cinematographic entity by merging together are stripped bare and served separately in order to provoke the boundaries of the constructed narrative. The gay party scene is presented in a triptych: the thrills of the night, the location, the date. With a surgeon’s ambition, director Leyendekker dissects a social environment held together by illusions.


Program III:

Peter Tscherkassky (Austria, 2010, 35mm-1.66, Dolby Stereo, 25 min.)
Peter Tscherkassky's Coming Attractions (Austria) is a sly, sartorial comedy masterfully mining the relationship between early cinema and the avant-garde, by way of fifties era advertising. With references to Méliès, Lumières, Cocteau, Léger, Chomette, the film playfully explores cinema's subliminal possibilities using an impressive arsenal of techniques like solarization, optical printing and multiple exposures.

Malic Amalya (USA, 2010, 16mm, live score, 18 min.)
"Drifting is both an homage to and a polemic on nostalgia for Americana. Shot on an optical printer, Drifting re-photographs frames from 8mm home movies that would have otherwise been thrown out due to broken sprocket holes, melded frames, light leaks, and jittering frame lines. By exposing the photographic anomalies of film, Drifting allows viewers to savor the patterns of light and the physicality of the media, while also asking them to consider how framing impacts their experience and understanding of images."

Pablo Marín (USA/ARGENTINA, 2010, single-8-18fps, silent, 7min.)
"Democratic, multiple-exposed images of Colorado Springs in which everything put there by nature and men converge unordered, free. Dedicated to Chris, Frank and Jesse."

Claudio Caldini (Argentina, 2009, single-8-18fps, sound-on-cd, 7 min.)
En la era del cambio climático, las cuatro estaciones no llegan a tiempo.
Lux significa luz en latín y Taal ciclo o batir de palmas (clapping) en sánscrito.
Filmada en una localidad al oeste de Buenos Aires y editada en cámara entre 2006 y 2008, registra la única nevada en la región en los últimos 80 años.

La madera se enciende frotándola con otra madera.
El metal, si se junta con el fuego, se hace fluido.
Cuando el Yin y el Yang se mezclan causan espanto en el mundo;
de ahí proceden los rayos y los truenos.
El fuego, que está en el interior del agua,
llega a quemar una corpulenta acacia.
Cuando de ambos lados se temen mucho los males,
no hay dónde huir.
El corazón está al aire
como colgado entre el Cielo y la Tierra.
El gozo y la tristeza lo levantan y le sumergen alternativamente.
Los bienes y los males se tocan en su corazón
y producen grandes fuegos.
En esos fuegos se quema la armonía de las multitudes.
La calma nocturna no es capaz de apagar esos incendios.

- Chuang Tzu
traducción de Carmelo Elorduy

Tony Balko (USA, 2009, 16mm, optical sound by Nick Falwell, 3 min.)
Light, water and air coax a tree out of the soil in a manner foregrounding time’s relativity to different forms of life on Earth.

Christopher Becks (France/Canada, 2010, 35mm-Cinemascope, silent, 5 min.)
"An in-camera song for a barn in Normandy."
- Christopher Becks
“[Ouverture] does more than observe a shape, it creates a shape, a
surrounding sphere, a refuge.”
- Mark McElhatten

RAYNING - summer 2010
Robert Todd (USA, 2010, 16mm, optical sound, 6 min.)
One ray leads to another, building the dream destined to dissolve in the light of our mind's eye.

AFTER MORNING - summer 2010
Robert Todd (USA, 2010, 16mm, silent, 3 min.)
A single in-camera rolling moment of departure and arrival and departures arrived at through the velvet inclinations of a cinematic sweeper.

Nathaniel Dorsky (USA, 2010, 16mm-18fps, silent, 12 min.)
"An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me."

Phil Solomon (USA, 1983, 16mm-print preservation by the Academy Film Archive, silent, 8 min.)
"The film began in response to an evaporating relationship, but gradually seeped outward to anticipate other imminent disappearing acts: youth, family, friends, time …. I wanted the tonal shifts of the film’s surface to act as a barometer of the changes in the emotional weather. Navigating the school bus in the fog, the lighthouse in disrepair."

Saul Levine (USA, 2010, 16mm-18fps, silent, 6 min.)
"Levine’s latest film in his Light Lick series, DAILY CAMERA, is on one level a flickering, ecstatic, and lyrical portrait of Boulder, Colorado. On a deeper level, it is yet another exquisite manifestation of Levine’s quest to merge the fundamental qualities of cinema (light and the arbitrary projection of individual frames) with life itself. This film is not about how the world is, but rather what the camera can turn the world into."
-Frankie Symonds

Timoleon Wilkins (USA, 1996-2010, 16mm-18fps, silent, 26 min.)
"Fragments of the filmmaker's life, home and travels, recorded over a 14-year period. 'The glories of atmospheric light and colour, inward soul-drifting, and the literal sensation of drifting within and through each shot and cut."

Siegfried A. Fruhauf (Austria, 2010, 35mm-1.66, Dolby Surround, 6 min.)
"In Siegfried Fruhauf's tranquility an image of a woman lying on her back in the sand, next to her an abandoned beach toy and nothing but sun and wind above, represents the point of departure for an adventurously long journey, one produced by the film material to be found here. tranquility could be regarded as a vacation daydream, a record of a flight of fantasy fluttering away, limitless consciousness raising which ends in a state of total relaxation, presumably like that of the woman on the beach."
-Bert Rebhandl


Program I
September 29, 2010
7:00 PM
The Mary Riepma Ross Media Arts Center
313 N. 13th, Lincoln, NE

Program II
September 30, 2010
7:00 PM
The Mary Riepma Ross Media Arts Center
313 N. 13th, Lincoln, NE

Program III
October 26, 2010
7:00 PM
The Union Theater
2200 E. Kenwood Blvd., Milwaukee, WI

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