FILMS OF PLACE
Sat 17 April 2004, at 6.20pm
London National Film Theatre NFT2

MING GREEN
Gregory Markopoulos, USA, 1966, 16mm, colour, sound, 7 min

GAMMELION
Gregory Markopoulos, Italy, 1968, 16mm, colour, sound, 54 min

SORROWS
Gregory Markopoulos, Switzerland, 1969, 16mm, colour, sound, 6 min

The work of Gregory Markopoulos occupies a unique position in the history of film. He is widely regarded as one of the masters of the cinematic art, yet since he departed the United States in 1967 his films were almost impossible to see. As a result of his need for total control over the presentation of his vision, he increasingly withdrew himself and his films from the film community he had been so actively involved in up to that point.

In recent years the films of Markopoulos have been gradually reintroduced to the viewing public and have been honoured at major museums and festivals, including retrospectives at the American Centre (Paris 1995), The Whitney Museum of American Art (New York 1996), Pacific Film Archive (San Francisco 1997) The Film Society of Lincoln Centre (New York 2003) and Harvard Film Archive (2003). In May 2003, Robert Beavers and Simon Field presented a screening of Markopoulos films at the Goethe Institute, Athens, to an audience exceeding 350 people, and in June 2004, Temenos Inc. will resume the summer screening programme at the outdoor site in Lyssaraia.

This National Film Theatre season is the first time that so many of the films of Markopoulos have been shown in England on such a scale. Since he withdrew his films from exhibition in the early 1970s, they have been virtually impossible to see in the UK. This high-profile event will also act as a precursor to the resumption of outdoor Temenos projections at a remote site near Arcadia in the Peloponnese in June 2004, where restored films from the epic Eniaios cycle will be presented in public the first time. For three consecutive nights, screenings will take place from 10pm to 4am in the place chosen by Markopoulos as the ideal site for a spectator’s quest, in which his films may elevate the spectators’ sense of time while emotionally and physically connecting them to the mythic themes and locations.

In 1964, he began work on the film which would eventually become The Illiac Passion (1967). During the period in which he was editing and securing funding for that film, he made three films edited entirely in-camera. Galaxie (1966) is a series of 33 portraits of the artistic and intellectual community of Manhattan. Through a Lens Brightly: Mark Turbyfill (1967) is a biographical portrait of the dancer and poet. Ming Green (1966) is an immaculately constructed portrait of his apartment that was shot in a single afternoon. This portrait, painted in the colour of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera: ‘The orchestration of colour, the controlled metrics of the flashing and superimposing images, the sureness of the composition, and the careful placement of musical excerpts make this film one of Markopoulos’ most successful achievements of in-camera editing’ (P. Adams Sitney)

After making Himself as Herself and Eros, O Basileus (both 1967) in New York, Markopoulos moved to Europe, ostensibly to raise money to finally print The Illiac Passion. While in Greece he made the architectural portrait Bliss (1967), and in Italy he shot Gammelion (1967-68), for which seven minutes of footage filmed in the 365 rooms of the Castello Roccasinibalda was extended to almost an hour using over a thousand fades.

‘Shot in available light and with only two rolls of film, Gammelion portrays Castello Roccasinibalda, a castle in Italy with which Markopoulos had long been entranced. Each ‘film phrase’ consisted of only a few frames which he later combined with hundreds of fade-ins and fade-outs, extending seven minutes of footage to 60. The soundtrack includes Rilke’s text: ‘To be Loved, is to be Consumed…’ read forward and in reverse.’ (Pacific Film Archives)

‘Gammelion takes its title from the Greek month suitable for marriage. As the screen slowly winks from dark to light and the reverse, tiny shots – sometimes just single frames – are interjected of the landscape around the castle. We gradually move closer and closer to it, view the corridors, glimpse a nude couple in the frescoes, and then move outside again. The impression of Gammelion is quite unlike that of any other Markopoulos film. It is at once terribly sparse and very rich.’ (P. Adams Sitney)

After The Illiac Passion, Markopoulos continued to work in Europe for the next two years up until Sorrows (1969). Set to music by Beethoven, this lyrical portrait moves from a chilled and misty exterior to the crystalline interior of the Swiss chateau that King Ludwig II built for Wagner.

‘It’s a film in which all of the editing is done in camera. It was very cold that day, there was a little bit of fog, but as I filmed, starting at the main entrance along the road, the fog sort of lifted. The first roll was the outside, the second the inside. By the time I got inside, the sun kept coming out – so it’s like a piece of crystal, it comes to light. I just used a motif from Beethoven’s Leonore overture, which Wagner liked very much.’ (Markopoulos interviewed by Jonas Mekas)

Through the 1970s, though he continued to shoot films (including Genius, 1970, a vision of Faust featuring David Hockney), they were rarely printed. Markopoulos was already developing plans for the Temenos, a dedicated theatre and archive that was to be constructed in his father’s home town of Lyssaraia in Greece. He severed his remaining ties with the film community in 1974, by disassociating himself from Anthology Film Archives and asking P. Adams Sitney to remove the chapter on his films from subsequent editions of the book Visionary Film. In the summer of 1980, Gregory Markopoulos and Robert Beavers held their first, free, open-air screenings on a hillside above Lyssaraia. The screenings were accompanied by publications and this tradition continued annually until 1986.

(Mark Webber)

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