| Films by Bruce Cooper, MM Serra, and
Monday, September 24th, 7:30pm
THREE DIURNALS and NOCTURNE (Bruce Cooper) - 16mm, B & W/Color, 45 min. si/so., 2000.
1. St. John's Tide 11m/si
2. Passio 9m/si
3 . Thread of Epiphany 17m/si
NOCTURNE 8 m/so
This is a four part poetic film picturing the self, landscape, beloved, birth, childhood, and sleep/death. Throughout are filmic metaphors representing inklings o f supersensible realms and beings. Part 1, St. John's Tide, can be taken as the voice of one calling in solitude (or crying in the wilderness) among the mingled waters of baptism and fire of the Holy Spirit. Part II, Passio, portrays the moods of Good Friday (solemn grief), Holy Saturday (the decent into hell) and Easter Sunday (birth as resurrection) as reflected in cityscapes, a dream interlude, and domestic scenes. Part III, Thread of Epiphany reflects the traditional festival presenting the Christ Child to the Magi, in the theme of growing children, and also pictures filmic "epiphanies" scratched and flashed onto film stock. The piece entitled NOCTURNE is not so much a conclusion as a recasting of the previous three films in the language of dreams. The images for these films were gathered and edited over seven years.
MARY MAGDALENE (MM Serra) - 16mm, color, sound, 30 mins.
"This is Freud's Dora told by Dore: a fresh revelation, a successful voyeurism. MARY MAGDALENE is a trip into child abuse meditated by the abused as an adult convervsing with her child self. Powerful and poignant, the film is disturbing. Voices from the past move into the present. The third person is used to distance: "She's very unhappy. She couldn't get rid of him" and more startling, "I don't want to comfort her. I want to hit her." The images, vidoe transferred through a video toaster to film, are blurry, beautiful, and painterly accenting the mediating process (of the filmmaker/adult body) through which the girl child speaks. This is a brave film, a complicated architecture in which form enacts the content in an eerie match with resonance for millions of women and enough power and poetry to play and perhaps penetrate the consciousness of men who fail to think of sexual abuse as conscious violence." - Abigail child, New York City, November 30, 1991.
WE ARE GOING HOME (Jennifer Reeves, USA, 16mm, 10 minutes, 1998).
This film has been hand-processed, solarized, chemically-treated and optically printed to invoke a surreal mood for the wanderings of several characters and their ghosts through a pastoral setting. Rhythmic colour and tonal shifts in the film emulsion give life to the physical landscape, which comes to represent the internal terrain of the subconscious. Jennifer Reeves was born in Ceylon but grew up in the United States. In addition to making, distributing and touring her experimental films, Reeves is studying at the University of California, San Diego.
| Zachary Scheuren |
Monday, October 22nd, 7:30pm
Monday, November 5th. 7:30 pm.
Among the works of the pioneers of American avant-garde filmmaking - Deren, Anger, Markopoulos, Brakhage among them - are films that try to account for the totality of the world, or at least, of one individual's consciousness. Often inscribed within such works is an acknowledgment of the failure of such attempts, but the ambition to "imagine a world" remains.
More recently, filmmakers have emerged who critique such ambitions, seeking for the artist the more modest role of making work that presents itself as qualified, contingent, provisional. Such filmmakers seek not to account for the universe, but to present particular experiences; analogous trends in contemporary art will be mentioned in this lecture-screening.
The two-person collective Animal Charm comment on the grandiosity of car culture; S. Barber presents ocean exploration ironically. Thomas Comerford's pinhole camera produces images of great delicacy and fragility, while Brian Frye mimics aspects of the home movie. And much earlier, Arthur Lipsett had used found footage to both relish and criticize grand ambitions.
The program ends with three films by "outsiders" for whom grand ambition was never an issue. All three offer a refreshingly direct relationship between humans and nature.Documentaries, they owe little to the genre's conventions. Mountain Farmer was made by rural Kentuckians, while Old Antelope Lake and A Navajo Weaver were made by Navajo who, having seen little of cinema or television, were given basic technical instruction in camera operation and splicing. The were seven "Navajo films" in all, and the book about the project that produced these films is called Through Navajo Eyes, by Sol Worth and John Adair.
Works to be screened, in the order in which they
will be shown:
|Unseen Cinema program #13 |
Monday, November 12th. 7:30 pm.
Blacksmithing Scene (1893) Edison Manufacturing: W.K.L.
Dickson, William Heise, 35mm, bw, sil, 33ft, 0.29m