Experimental Cinema Group was ushered in by Carla Selby and Gladney Oakley and was later influenced by Bruce Conner and Stan Brakhage. It is now called First Person Cinema and the curator is Don Yannacito. This program was started in 1955 with the intention of bringing an awareness of the personal cinema to Boulder, and has become a highly respected, international showcase for the makers of personal film. It is the longest existing program in the world that has been continually screening avant-garde film and video work.
The Stan Brakhage Film Series will continue to show films by Brakhage on the first Sunday of every month at 8:00pm in ATLAS 100. All shows are free and open to the public.
Student Award Showcase
Wednesday, September 13, 2017
Winners of The Grillo And Goldfarb Awards
The Grillo Kage Credit grants are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production. Grants will be distributed each year to four tiers of production students. Final recipients and individual grant amounts will be determined each semester by a combination of in-class student votes and a panel of judges made up of CU Film Studies faculty and professionals in the field. A selection of films from the advanced classes will be screened in this evening’s show. The Grillo grants are given as Kage credit in honor of the founder and former director of the CU Film Studies Program, Virgil Grillo (1938-1994), whose dedication and vision helped shepherd Film Studies from its modest beginnings in the 1970’s to an undergraduate and graduate degree program boasting some 600 majors.
Various short student films will be presented in digital format; the full awards show is estimated to last no longer than 80 mins.
Wednesday, September 27, 2017
John Gianvito is a filmmaker, teacher, and curator based in Boston. Since the 1990s, provoked in particular by the obscenity of the “first” Gulf War and the laser-like thought of Noam Chomsky (who Gianvito first encountered while a graduate student at MIT), Gianvito’s films, while each subject to their own ‘laws of gravity’, have shared a thematic interest in the reclamation of buried history, and a sustained critique of the imperialist thrust of late capitalism. In works such as the fiction film The Mad Songs of Fernanda Hussein to his recent 4 ½ hour documentary Vapor Trail (Clark) he’s expressed an interest in the creation of an agit-prop cinema in the original non-pejorative sense of ‘agitating emotions and propagating thoughts’. His widely acclaimed film Profit motive and the whispering wind is a visual mediation on the progressive history of the United States as seen through cemeteries, historic markers, and landscape memory.
Puncture Wounds (September 11th)
Beta SP. 10 min. Color. Sound. 2002.
Profit Motive and The Whispering Wind
Digi-Beta. 58 min. Color. Sound. 2007.
Wednesday, October 11, 2017
Tomonari Nishikawa is an artist and filmmaker whose works have been screened at numerous venues, including Edinburgh International Film Festival, Hong Kong International Film Festival, International Film Festival Rotterdam, Media City Experimental Film Festival, New York Film Festival, and Toronto International Film Festival. Nishikawa also makes installations using pinhole photography techniques, and such works have been exhibited at Berlinale, Headlands Center for the Arts, San Francisco Arts Commission Gallery, and Still Motion in Toronto. One of his installations, Building 945, received the 2008 Museum of Contemporary Cinema Grant. Nishikawa occasionally works as a film curator/programmer. He is a guest adviser and curator of Yebisu International Festival for Art & Alternative Visions in Tokyo, and works as a guest adviser for Aichi Art Triennale in Nagoya. He is one of the founders and co-directors of KLEX: Kuala Lumpur Experimental Film and Video Festival in Malaysia. Nishikawa currently teaches at Binghamton University as a 2009-11 visiting artist.
16mm. 6min. B&W. Sound. 2003.
Shake 'N Bake.
16mm. 3 min. COLOR?? Sound. 2006.
Sketch Film #1.
Super 8. 3 min. B&W. Silent. 2005.
Sketch Film #2.
Super 8. 3 min. B&W. Silent. 2005.
16mm. 5 min. B&W. Silent. 2005.
Clear Blue Sky.
MiniDV. 4 min. Color. Sound. 2006.
Mixed media. Loop. B&W. Sound. 2006.*
Mixed media. Loop. B&W. Sound. 2007.*
Into The Mass.
Dual 16mm. 6 min. Color. Silent. 2007.
35 mm. 2.5 min. Color. Silent. 2008.*
Sketch Film #5.
Super 8. 3 min. B&W. Silent. 2007.
35 mm. 3 min. B&W. Sound. 2009.*
*shown as a MiniDV copy/documentation
Wednesday, October 25, 2017
'I make single channel videos, multiple channel video installations and paintings. In the early days of my career, I made 16mm films, from 1974-1984. I have worked in digital video since 1985. I make both single channel videos and multiple channel installations. My work has been primarily, hand drawn animation in recent years. I have always painted. All of my work has been influenced by my Mid-western roots. Dark, German, Lutheran fundamentalism confronted by reactionary, anti-war politics and a disturbing goofiness caused perhaps by too much substance abuse and small town heretical dis-function. I make cartoons, sometimes with appropriated, re-contextualized, re-processed components. Sometimes over the years I have tried to make sense.'
John Knecht is a professor of Art and Art History at Colgate University. His films, videos and installations have been exhibited worldwide.
The Possible Fog Of Heaven.
16mm. 10 Min. Color. Sound. 1993.
301 Nails: No Air Loss!
16 mm. 6.5 Min. Color. Sound. 1995.
The Wobble Dobble Series.
6 Min. 2000.
Crisis In Sapville.
5.5 Min. 2005.
5.5 Min. 2005.
3.5 Min. 2007.
P. Adams Sitney
Wednesday, November 8, 2017
P. Adams Sitney is a Professor of Visual Art at Princeton University. He has taught at Bard College, New York University, The Cooper Union, The School of the Art Institute of Chicago, and the School of Visual Arts. He is the author of Visionary Film: The American Avan-Garde 1943-1200; Modernist Montage: The Obscurity of Vision in Film and Literature; Vital Crises in Italian Cinema; and his latest book, Eyes Upside Down. He edited the Film Culture Reader; The Essential Cinema; The Avant-Garde Film and Stan Brakhage’s Metaphors on Vision. In 1969 he co-founded Anthology Film Archives in New York.
Joseph Cornell. 8 Min. B&W. Sound. 1938.
New Left Notes.
Saul Levine. 16mm. 26 Min. Color. Silent. 1982.
Daughters Of Chaos.
Marjorie Keller. 16mm. 20 Min. Color. 1980.
Songs 4, 9.
Stan Brakhage. 8mm. 5 Min. Color. Silent. 1966.
Ancient Parts And Foreign Parts.
Marjorie Keller. 16mm. 6 Min. Color. Sound 1979.
Machine Of Eden.
Stan Brakhage. 16mm. 14 Min. Color. Silent. 1970.
Wednesday, December 6, 2017
Max Bernstein: Max’s work explores abnormal psychological states, elements of social performance, and the sculptural qualities of light as related to the “conventional” proscenium dynamic of cinema and theater through video installations and performances.
Sarah Biagini: Sarah's films are usually a combination of original and appropriated imagery, hand processed and optically printed. They often reveal her deep dark envy of scientists and preoccupation with nature.
Taylor Dunne: "I think of my process of filmmaking as a means for investigating and uncovering residues of history embedded in human and natural environments."
Elizabeth Henry: "I am interested in eco-psychology and film, so I'm experimenting with film as a manual for the phenomenology of perception--how we feel the world around and within ourselves, or, how we don't."
Dawn Hollison: Dawn uses the moving image for the poetic exploration of narrative structures. Her work draws upon questions about the nature of visual language, while examining themes of allegory, myth, and archetypes.
Marcy Saude: Marcy makes films and videos on subjects like marginal histories, the landscape, counterculture, and language. She is interested in DIY aesthetics, appropriation, expanded notions of non-fiction, and witches.