Date: 26 October 2008 | Season: London Film Festival 2008 | Tags: London Film Festival
BEN RIVERS AT THE EDGE OF THE WORLD
Sunday 26 October 2008, at 9pm
London BFI Southbank NFT3
An intrepid explorer, Ben Rivers toys with ethnographic tropes whilst roaming free from documentary truth. Encountering those who choose to live apart from society, his nonjudgmental approach presents âreal life, or something close to it.â The Edge of the World features several recent works with other films of his choice.
Ben Rivers, Ah Liberty!, UK, 2008, 19 min
In the wilderness of a highland farm, a bunch of tearaways joyride, smash up, tinker and terrorize the way that only children can. Assimilating landscape and livestock, this poetic study contrasts the languid setting with the youngsterâs restless energy.
Alexandra Cuesta, Recordando El Ayer, USA, 2007, 9 min
In the shadow of an elevated subway line in Queens, New York, the residents, streets and stores of a Latino community evoke a sense of transience and displacement.
Ben Rivers, Astika, UK-Denmark, 2007, 8 min
Danish recluse Astika has allowed nature to run wild, overgrowing his own habitat to the point that he has no option but to move away. The film is a hazy arrangement in green and gold, all rich textures and lush foliage.
Luther Price, Singing Biscuits, USA, 2007, 4 min
A gospel cry rings out across the decades, disrupted in space and time, fading but resilient.
Ben Rivers, âNew Surprise Filmâ, UK, 2008, c.7 min
A little anticipation never did anyone any harm; youâll have to be there to find out what it is.
Ben Rivers, Origin of the Species, UK, 2008, 17 min
âA 70-year old man living in a remote part of Scotland has been obsessed with âtrying to really understandâ Darwinâs book for many years. Alongside this passion, heâs been constantly working on small inventions for making his life easier. The film investigates someone profoundly interested in human beings, but who has decided to live separately from the majority of them.â (Ben Rivers)
PROGRAMME NOTES
BEN RIVERS AT THE EDGE OF THE WORLD
AH LIBERTY!
Ben Rivers, UK, 2008, 16mm-on-video, b/w, sound, 19 min
A familyâs place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at an idea of freedom, which is reflected in the hand-processed Scope format, but is undercut with a sense of foreboding. Thereâs no particular story; beginning, middle or end, just fragments of lives lived, rituals performed. (Ben Rivers)
SINGING BISCUITS
Luther Price, USA, 2007, 16mm, colour, sound, 4 min
Not a gospel vamp not quite ostinato catatonia but a lost and found of looks that sound and return to look again, a choral interlude from the continuing Biscuits/Biscotts series. (Mark McElhatten, New York Film Festival Views from the Avant-Garde)
RECORDANDO EL AYER
Alexandra Cuesta, USA, 2007, 16mm, colour, sound, 9 min
Memory and identity are observed through textures of everyday life in a portrait of Jackson Heights, home to a large Latin American immigrant population. Images of streets, people, and daily rituals render the passing of time in a neighbourhood that becomes a mirror not just of another place, but also of the past. The landscape visually reflects the space as a creation of a new home while revealing displacement within the new condition. The meaning of home is explored and build upon collective reflection. (Alexandra Cuesta)
ASTIKA
Ben Rivers, UK-Denmark, 2007, 16mm, colour, sound, 8 min
A portrait of Astika, who lives on an island in Denmark. He has lived in a run down farmhouse for 15 years and his project has been to let the land around him grow unchecked, but now he has been forced to move out by people who prefer more pristine neighbours. (Ben Rivers)
A WORLD RATTLED OF HABIT
Ben Rivers, UK, 2008, 16mm-on-video, colour, sound, 10 min
A day trip to Suffolk, to see my friend Ben and his dad Oleg. (Ben Rivers)
ORIGIN OF THE SPECIES
Ben Rivers, UK, 2008, 16mm, colour, sound, 17 min
The film is a portrait of âSâ, a 70 year old man living in a remote part of Scotland, who has been obsessed with âtrying to really understandâ Darwinâs book for many years. Alongside this passion, there has been constant work on small inventions for making his life easier. His house is miles down a dirt track and has a grass roof. This film will investigate someone profoundly interested in human beings, but who has decided to live separately from the majority of them. (Ben Rivers)
âAh Liberty!â is being projected on film in the exhibition âWild Shapesâ at Cell Project Space, 258 Cambridge Heath Road, London, E2 9DA, until 16th November. www.cell.org.uk
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Date: 2 November 2008 | Season: Ken Jacobs tank.tv | Tags: Ken Jacobs, tank.tv
STAR SPANGLED TO DEATH
Sunday 2 November 2008, 2pm-10pm
London Chisenhale Gallery
A free screening of Star Spangled to Death, Ken Jacobsâ episodic indictment of American politics, religion, war, racism and stupidity, timed to coincide with the US election and the end of the Bush regime. Starring Richard Nixon, Nelson Rockefeller, Mickey Mouse, Al Jolson and a cast of thousands.
Ken Jacobs, Star Spangled to Death,1957-59/2004, USA, 400 min
Jacobsâ extraordinary epic combines whole found films, documentaries, newsreels, musicals and cartoons with improvised performances by the legendary Jack Smith and Jerry Sims. Together they picture a dangerously sold-out America where racial and religious prejudice, the monopolisation of wealth and an addiction to war are opposed by Beat generation irreverence.
Star Spangled to Death will be shown with several intermissions. Refreshments available, or bring a packed lunch and a cushion!
Presented by Whitechapel at the Chisenhale, in collaboration with Mark Webber, tank.tv and Firefly. An online exhibition at www.tank.tv from 1 October to 30 November 2008 includes a selection of 20 complete or excerpted works by Ken Jacobs, dating from 1956 to the present.
PROGRAMME NOTES
STAR SPANGLED TO DEATH
Sunday 2 November 2008, 2pm-10pm
London Chisenhale Gallery
STAR SPANGLED TO DEATH
Ken Jacobs, USA, 1957-59/2004, video, b/w & colour, sound, 400 min
Star Spangled To Death is an epic film costing hundreds of dollars! An antic collage combining found-films with my own more-or-less staged filming (I once said directing Jack and Jerry was like directing the wind). It is a social-critique picturing a stolen and dangerously sold-out America, allowing examples of popular culture to self-indict. Race and religion and monopolisation of wealth and the purposeful dumbing down of citizens and addiction to war become props for clowning. In whimsy we trusted. A handful of artists costumed and performing unconvincingly appeal to audience imagination and understanding to complete the picture. Jack Smithâs pre-Flaming Creatures performance is a cine-visitation of the divine (the movie has raggedly cosmic pretensions). His character, The Spirit Not Of Life But Of Living, celebrates Suffering, personified by poor rattled fierce Jerry Sims, as an inextricable essence of living.
I was 24 when I began the film, Jack 25. Jerry in his mid-thirties seemed middle-aged to us. Jack later said, I think appreciatively, I taught him to hate America. We met 1954 and got to hanging around, broke most of the time, walking the streets âshadow starvedâ (Jackâs expression) for movies a mind could fix on. Max Ophulsâ Sins Of Lola Montez, even in its producer-reassembled state, stood out in its love of the art, in showing what a camera could still do. Hollywood with some few exceptions had gone numb, frantic and numb in this time of fascist ascendance and cultural impoverishment. The enemy had been switched from Right to Left at the end of World War II and the owners had returned with a vengeance. Their message was simple: âShut up and do what youâre told.â War had done the trick of loosening industry from its Depression fix and war would now be Americaâs raison dâĂȘtre. War would serve to rid the country of excess wealth, lest more equitable distribution shake its class structure. In light of how much bullshit it takes to win a war, consider the bullshit it takes to sell ongoing war-to-war-to-war; we were inundated. Only the Abstract-Expressionist painters had been left to proclaim the old radical hopes (because the liberties they took were abstract). The Sixties were nowhere in sight.
Then one day on the set (the rear courtyard of the W. 75 St. brownstone where I was janitor) Jack pushed a copy of âOn The Roadâ into my hands, saying, âItâs about us.â Iâd been reading Paul Bowles and H.P. Lovecraft and a smuggled in copy of âLolitaâ and the drop in writing level was too steep. âYouâll be able to stay with it on your sixth attemptâ, Jack said, which proved to be true. It caught some things right, quirky ephemerals that hadnât registered as events. Of course it helped stir a social revolution (disowned by Kerouac) and maybe Star Spangled To Death wouldâve participated in that great humanist eruption if I had completed it and got it out in its proper time. Over six hours then, there was no way I could pay final sound-joining and printing lab costs. I screened camera originals a few times to records and spoken commentary but money didnât happen and, pissed, in 1963 I put it aside to continue with affordable works (like near cost-free shadowplay). Its moment, I felt, had passed. Its invention, the very look of it, its texture was to a degree no longer unique. My pride was wounded. People were treating me as if I was normal. I got a measure of Jackâs fame when I heard a girl address her dog as Flaming Creature, but he chose â at a time when patrons were available to him â not to help. Like maybe his movie might be seen as coming from somewhere. I let it go and had another life, better Iâm sure than the one that wouldâve resulted from the release then of Star Spangled To Death.
I recall thinking when Kennedy took office there was less urgency to get it out. He looked like he had a sex life, had little kids that he surely wanted to raise above-ground, and indeed he did interfere with the Eisenhower plan to return Cuba to The Mob, costing him his life.
Video makes its present release possible. Yeah, yeah, it ainât film, and Iâd already begun my quest with it into the actuality of film rather than film as transparency. Rising from my own abstract-expressionist mindset. Let me be. I so appreciate what video permits (although the work, with one sinful exception, the reprise of âAre You Havinâ Any Fun?â, does not take off into electron free-play but stays respectful of film limits), and I appreciate the possibility of cheap DVD distribution. And if anyone has the passion and money and patience the video can guide final assembly of the film. At age 70 I have to attend to other cine-demands, like leaving something lasting of what Flo and I did in live performance with The Nervous System and Nervous Magic Lantern.
âSomething lastingâ? Habit of thought. I wonder if our masters (the hallowed image of The White House insists, to the subconscious, that The Old Plantation prevails) figure, in rationalising a way to live with their crimes, that ânatural deathâ is often no less painful than an accelerated conclusion, so what the hell, the little fuckers will replenish their numbers soon enough. From where they are we all look alike, excepting those of us that stand up. I donât feel hopeful when Bush lies are exposed, implausible to begin with; followers elect to believe, and hold on to beliefs doggedly. Followers expect leaders to lie and believing an obvious lie is how they demonstrate their faith. Lying mostly offends professors and not all of them by a long shot. No, I think weâre due to be interrupted, that history is about to come down through the roof on us this time. Sorry, truly, but I believe my film-title. Perhaps that it arose to mind almost a half-century ago and so many of us are still here, in sight of scientific breakthroughs galore, is reason for confidence in ongoing life. We certainly can resist the bastards! They are taking our lives, what more can we lose? Jack fumbled the making of his last film but how meaningful a title is No President.
Here, explaining, you get gravity. The movie achieves levity.
Is this video the real thing? In the winter of 1959 editing facilities were two nails in a wall holding two film reels and an enlarging glass and in 2003 a G4 with Final Cut Pro. Better to figure the entirety as another entry in my found-film oeuvre. I did drop some found-films from the original collage, including all biographic elements (like my maybe-fatherâs third-wedding home-movies), replacing with items more on track with central concerns of the work. Stuff gathered over the years with SSTD in mind, only some that could be squeezed into its ultimate realisation. The Follies entered sometime in the Sixties, the Micheaux entered my life with a bang in 1968 (Ten Minutes To Live being up there with the greatest; the DVD of SSTD should by rights be a double-feature with Ten Minutes To Live seeing as the titles go so well together) but only infiltrated SSTD during this latest editing. Ronald Reagan and the twerp presiding now, how ignore them? Perhaps with precisely the same pitch of outrage as my younger self I would not have made any concessions to audience capacity, only added things. Thereâs friends, I know, that will be glum over what they will perceive as signs of an orderly mind. My head, inside, isnât all that different from what it was, I didnât become someone else, but I did get the work together and in a profound way thatâs the problem. It was supposed to lie in a jumbled heap, errant energies going nowhere, the talented viewer inferring form. A Frankenstein that fizzled but twitching and still dangerous to approach. Thoroughly star spangled but still kicking. âKen Jacobs
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Date: 14 November 2008 | Season: Robert Beavers 2008 | Tags: Robert Beavers
ROBERT BEAVERS
14â16 November 2008
Norwich Aurora Festival
Robert Beavers has laboured in relative isolation on works whose goal âis for the projected film image to have the same force of awakening sight as any other great image.â His meticulously crafted films are at once lyrical and rigorous, sensuous and complex. Whilst communicating his response to the landscapes, architecture and traditions of the Mediterranean and Alpine countries in which they were filmed, they also incorporate deeply personal and aesthetic themes.
The films Beavers made between 1967 and 2002 are collected together in the cycle âMy Hand Outstretched to the Winged Distance and Sightless Measureâ, which comprises 17 individual titles and a prologue. Since finishing this series, he has embarked on new works, beginning with Pitcher of Colored Light in 2007.
Robert Beavers was born in Brookline, Massachusetts, in 1949, attended Deerfield Academy and developed an interest in cinema from an early age. Encouraged to make his own films, he moved to New York in 1965 and met the Greek-American filmmaker Gregory J. Markopoulos. Two years later Beavers relocated to Europe, where he was soon joined by Markopoulos, and embarked upon a peripatetic lifestyle travelling and filming across several countries.
Beaversâ filmmaking began in earnest with several works being completed in the space of three years. The earliest films, from Winged Dialogue to Still Light, shot variously in Greece, Belgium, Switzerland, Germany and England, are stylistically adept whilst displaying a youthful dynamism. Made when the filmmaker was only 18 to 21 years old, they suggest a sense of adolescent isolation and angst. Diminished Frame, a bleak view of Berlin, powerfully conveys the alienation felt by the filmmaker during his first visit there in 1970.
Together, the Early Monthly Segments form a prologue to the complete cycle, and is the only silent film. Excerpts are also included on reels containing the final versions of the six early films. These brief exercises apply formal experimentation to personal footage or daily imagery. Whilst offering a glimpse into the lives of Beavers and Markopoulos, they more significantly demonstrate Beaversâ enthusiasm for and exploration of his chosen medium.
Beaversâ frequently manipulates the field of vision by inserting coloured filters, applying mattes that selectively reframe or block out the image, and by turning the lens on the turret of the camera. The rapid, diagonal motion that arises from the latter device is echoed by the unconventional use of swift pans and tilts.
From the Notebook of ⊠is an axis on which the two phases of Beaversâ oeuvre are balanced, being a point of convergence between the impulsive early works and the more considered manner of his mature films. It was inspired by the notebooks of Leonardo da Vinci (and writings by Giorgio Vasari and Paul ValĂ©ry), and depicts Beaversâ own filming notes, work room and creative process in relation to views of Leonardoâs Florence and details of the Renaissance artistâs life.
The self-reflexive nature of the filmmaking is most evident in the early films but continues as a presence in later works in which Beavers frequently draws parallels between the act of filmmaking and the craft of skilled labour. These formal characteristics, often associated with the structural tendency, are tempered by the lyrical qualities of the work, and its intimate relationship to landscape, culture, architecture and history.
Work done, a stately chain of elementary images that range from the natural world to artisanal production, marks the beginning of a new approach. From this point onwards, films were no longer centred on a protagonist, but were built on the implied correspondences between objects or visual emblems, conveying emotions and thoughts in an innate or tacit manner. When human figures appear, they act as metaphoric symbols, rarely as characters or subjects.
The film Ruskin was motivated by Beaversâ reading of âThe Stones of Veniceâ. Architectural details and views of the Italian city dominate the film, which also features images of London and the Alps, and a copy of âUnto This Lastâ, Ruskinâs treatise on social justice. Though literature is one of Beaversâ sources of inspiration, his films seldom contain text or speech. Dialogues are created between images rather than through the use of language.
Throughout the 1970s and 1980s, Beaversâ films were rarely shown in public. Both he and Markopoulos lived modest lives, dedicated to making new work and ensuring the means to continue, independent even of the support structures and community that had formed around the avant-garde cinema in New York and Europe.
In AMOR, as in the later film The Hedge Theatre which was also shot in Rome, analogies are drawn between filmmaking, tailoring and architecture. Images or sounds of the making of a suit, the restoration of a building and of Beavers himself are cut together in complex sequences. The filmmakerâs hand gestures, which frequently reach out into the frame, emphasise a performative element in the making.
The final series of films in the cycle were predominantly shot in Greece and include Efpsychi, photographed in the old market quarter of Athens, and Wingseed, partly located in an idyllic landscape near to where Beavers and Markopoulos presented annual outdoor screenings between 1980 and 1986.
In 1992, shortly after completing the editing of his monumental work ENIAIOS, Gregory Markopoulos died in Freiburg, Germany. The Ground, made over the subsequent eight years, is Beaversâ moving response to this loss. One of the filmâs signature images, the ruins of a hollow tower on a hillside above the sea, is also featured in Winged Dialogue, and brings a sense of completion and circularity to the entire sequence of works when viewed in its entirety.
The unity of the cycle was reinforced by the process of re-editing undertaken by Beavers in the 1990s. These revisions typically created shorter films, producing distilled works that are painstakingly composed and precisely balanced. At this time, he also created many new soundtracks, often returning to the original sites to record audio on location.
As Beavers reached the conclusion of this process, he began to show his work at selected screenings, most notably at festivals in New York, Rotterdam, Toronto and London. This cautious but considered emergence into the public arena finally gives audiences the opportunity to survey his intricately crafted style of filmmaking. âMy Hand Outstretched to the Winged Distance and Sightless Measureâ offers the contemporary viewer a rare aperture for vision, communicated in the moment of projection. The complete cycle has been presented at the Whitney Museum of American Art (October 2005) and Tate Modern (February 2007), and selections have screened at museums, archives and cinematheques worldwide.
For the first film since the 17-film cycle, Beavers returned to the USA to photograph the solitude of his motherâs house in New England. Employing a more intimate approach to filming, he created a tender portrait which contrasts a dark interior with the vibrancy of an abundant garden. On the soundtrack ambient natural sounds are punctuated by brief phrases of his motherâs voice or passages of music from the radio. As seasons pass, the camera searches through shadows, conveying the slowed pace of life in old age.
Parallel to his ongoing practice as a filmmaker, Beavers remains responsible for the legacy of Gregory J. Markopoulos and for developing the Temenos Archive which they jointly conceived for the preservation and promotion of their work. Born out of the desire for continuity between the production, presentation, and interpretation of their films, the project proposes a facility in which a projection space, the film copies, and the filmmakersâ writings and documentation can exist in close proximity. In this environment, dedicated spectators would have the possibility to view and study the films in tandem.
This ideal was first articulated by Markopoulos in essays published through the last two decades of his life, and has since been taken forward by Beavers in more practical terms of both conservation and public access. Numerous films by both filmmakers have been preserved, and new prints have been exhibited at venues in Europe and North America. An archive has been established in ZĂŒrich, in which the private papers, journals, essays, production notes of Beavers and Markopoulos, plus documentation such as publications, critical writing, posters, photographs and other materials can be stored and made available for research.
A primary focus of Temenos activity is the costly and labour intensive restoration and printing of ENIAIOS, the 80-hour long film that Markopoulos considered a summation of his filmmaking knowledge. ENIAIOS interweaves approximately 100 individual works including radically reedited versions of his best-known early films and others that have not been shown in any form.
This uniquely ambitious film was made specifically for showing in a remote, outdoor location in Arcadia, Greece, where the two filmmakers had presented annual screenings for seven years in the 1980s. In 2004 and 2008, Beavers returned to this site to present the first screenings of the opening hours of ENIAIOSâ to an international audience. The act of travelling to the site, spending some days away from daily life, and the opportunity of viewing a work in total harmony with its surroundings is extraordinarily affecting.
Beavers often speaks of filmmaking as a âsearchâ, and this is also the process a viewer undergoes when first encountering his films, which are in extraordinary contrast our customary experiences of the moving image. His films, and the example of the Temenos, which proposes a new way for filmmakers to articulate their works beyond the frame, are testament to a dedication to the medium and its audience. âMark Webber
ROBERT BEAVERS FILMOGRAPHY
Winged Dialogue, 1967/2000, and Plan of Brussels, 1968/2000, 35mm, colour, sound, 21 min
Early Monthly Segments, 1968-70/2002, 35mm, colour, silent, 33 min
The Count of Days, 1969/2001, 16mm, colour, sound, 21 min
Palinode, 1970/2001, 16mm, colour, sound, 21 min
Diminished Frame, 1970/2001, 16mm, black-and-white and colour, sound, 24 min
Still Light, 1970/2001, 16mm, colour, sound, 25 min
From the Notebook of âŠ, 1971/1998, 35mm, colour, sound, 48 min
The Painting, 1972/1999, 16mm, colour, sound, 13 min
Work done, 1972/1999, 35mm, colour, sound, 22 min
Ruskin, 1975/1997, 35mm, black-and-white and colour, sound, 45 min
Sotiros, 1976-78/1996, 35mm, colour, sound, 25 min
AMOR, 1980, 35mm, colour, sound, 15 min
Efpsychi, 1983/1996, 35mm, colour, sound, 20 min
Wingseed, 1985, 35mm, colour, sound, 15 min
The Hedge Theater, 1986-90/2002, 35mm, colour, sound, 19 min
The Stoas, 1991-97, 35mm, colour, sound, 22 min
The Ground, 1993-2001, 35mm, colour, sound, 20 min
Pitcher of Colored Light, 2007, 16mm, colour, sound, 24 min
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Date: 15 November 2008 | Season: Robert Beavers 2008
ROBERT BEAVERS STUDY DAY: Voice, Interval & Place
Saturday 15 November 2008, from 1-6pm
Norwich Aurora Festival
Robert Beavers will present an afternoon seminar on personal filmmaking following the themes of voice, interval and place. This rare opportunity to participate in an extended dialogue with the filmmaker will include screenings and detailed discussion of works by Robert Beavers, Gregory J. Markopoulos, Bruce Baillie and several contemporary filmmakers working in 8mm and 16mm.
“Starting from an observation made by the poet, Elizabeth Bishop, that theories can only be about othersâ works or oneâs own in retrospect or wishful thinking, I hope to open a discussion about what a filmmakerâs voice might be and how it is sometimes related to a sense of place. I will present films by others and an early work of my own, and time allowing, I may discuss one or two points towards the future to fulfil our poetâs category of wishful thinking.
“While viewing these films, I hope to speak about some of the material differences and discuss with the participants how these differences have affected the resulting films. This can provide participants with some background to this area of filmmaking and an opportunity for a comparison of sources for their own decisions as filmmakers or dedicated film spectators.
“I will concentrate also upon qualities of the senses in filmmaking and the search for a richness in the development of technique to give form to thought and emotion.” âRobert Beavers
Films to be shown and discussed:
Francois Boué, Tectonica: Ur-Haus (Yawpo), 1998-99, Super-8, 18fps, colour, sound, 7 min
Francois Boué, Micropolis: Tabu Mana, 1998, Super-8, 18fps, colour, silent, 3 min
Francois Boué, Tabu Mana II: Gods to Go, 1998, Super-8, 18fps, b/w, silent, 4 min
Francois Boué, Goetheanum, 2005, Super-8, 18fps, colour & b/w, silent, 8 min
Bruce Baillie, Valentin de las Sierras, 1967, 16mm, 24fps, colour, sound, 10 min
Ute Aurand, Maria und die Welt, 1995, 16mm, 24fps, colour & b/w, sound, 15 min
Robert Beavers, The Stoas, 1991-97, 16mm, 24fps, colour, sound, 22 min
15 minute break
Helga Fanderl, Tombs, 2004, 16mm, 18fps, b/w, silent, 3 min
Helga Fanderl, Broadway, 2006, 16mm, 18fps, b/w, silent, 3 min
Helga Fanderl, Drawing Cobblestones, 2006, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Golf House, 2006, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Leaden Waves, 2006, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Shadows on a Red Wall, 2006, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Skating, 2005, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Warriors Mark, 2007, 16mm, 18fps, colour, silent, 2 min
Helga Fanderl, LouĂŻe, 2007, 16mm, 18fps, colour, silent, 3 min
Helga Fanderl, Glaciers, 2006, 16mm, 18fps, colour, silent, 1 min
Gregory J. Markopoulos, Bliss, 1967, 16mm, 24fps, colour, optical sound, 6 min
Gregory J. Markopoulos, Eniaios IV, Reel 2, late 1980s, 16mm, 24fps, colour, silent, c.25 min
Jeannette Muñoz, Cronica : El Cortijo, 2000-06, 16mm, 24fps, colour & b/w, silent, 15 min
Jeannette Muñoz, Envios (excerpts), 2003-08, 16mm, 24fps, colour & b/w, silent, c.10 min
Ute Aurand, Am Meer, 1995, 16mm, 24fps, colour, sound, 3 min
PROGRAMME NOTES
ROBERT BEAVERS STUDY DAY: Voice, Interval & Place
Saturday 15 November 2008, from 1-6pm
Norwich Aurora Festival
Filmmakers to be presented: Ute Aurand, Bruce Baillie, Robert Beavers, Francois Boué, Helga Fanderl, Gregory J. Markopoulos, Jeannette Muñoz.
Films to be shown and discussed include:
THE STOAS
Robert Beavers, 1991-97, 16mm, colour, sound, 22 min
âI sought in these small industrial arcades the spaces which can be seen first from one side and then from the other, a shape of emptiness, then the divinity of the river â this deep sense of appearance â and finally the grasping of the grape.â (Robert Beavers)
BLISS
Gregory J. Markopoulos, 1967, 16mm, colour, sound, 6 min
and
ENIAIOS IV, Reel 2 (Nefeli Photos)
Gregory J. Markopulos, 1967/91, 16mm, colour, sound, 30 min
Bliss is a kaleidoscopic study of the interior of a small, Byzantine church on the Island of Hydra. This will be rare opportunity to view and compare the original version, edited spontaneously in camera over the two days it was shot, and the revised and extended treatment of the same footage, in which the images are isolated by measures of black frames.
MARIA UN DIE WELT
Ute Aurand, 1995, 16mm, black and white, sound, 15 min
The filmmaker Maria Lang moved to the countryside to take care of her elderly mother. Maria und die Welt (Maria and the World), by her friend Ute Aurand, is a portrait of that relationship and its setting.
VALENTIN DE LAS SIERRAS
Bruce Baillie, 1967, 16mm, colour, sound, 10 min
âSkin, eyes, knees, horses, hair, sun, earth. Old song of Mexican revolutionary hero, Valentin, Sung by blind Jose Santollo Nasido en Santa Crus de la Soledad.â (Bruce Baillie)
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Date: 24 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
MONOLOG
Saturday 24 October 2009, 12-7pm
London BFI Southbank Studio
A new work made for the Festival turns its attention to the viewer and the room itself. âCome inside, Iâm going to explain a few things. Just about you and the space weâre in. Itâs quite warm in here, you should take off your jacket âŠâ
MONOLOG
Laure Prouvost, UK-France, 2009, video, colour, sound, 9 min (continuous loop)
Prouvost weaves whimsical and intimate narratives that both mesmerise and disturb, blurring the boundary between reality and fantasy in ways that parody traditional narrative structures. Things never seem to quite match up in Prouvostâs stories, leaving the viewer with the task of trying to fix these somewhat messy and imperfect narratives that begin full of mystery and enchantment only to unravel and shatter any promise of a happy ending. (Jamie Wyld)
Laure Prouvost was born in Lille in 1978 and lives and works in London. She received the EAST International award for 2009 and has also recently exhibited at After the Butcher Berlin, Monika Bobinska Gallery and MOT London, and the Zoo Art Fair. Her videos are distributed by LUX. Prouvost has been director of tank.tv, the online moving images gallery, since 2003. www.laureprouvost.com
Date: 24 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
HOLLIS FRAMPTON: HAPAX LEGOMENA
Saturday 24 October 2009, at 2pm
London BFI Southbank NFT3
Hollis Frampton, a key figure of the American avant-garde, was an artist and theoretician whose practice closely resonates with contemporary discourse. The series of seven films known as Hapax Legomena is, alongside Zorns Lemma, one of his most distinguished achievements, and will be presented in its entirety on new preservation prints. Predating Magellan, the ambitious âmetahistoryâ of film left unfinished by his early death in 1984, Hapax Legomena traces Framptonâs own creative progression from photographer to filmmaker. It dissects sound/image relationships, incorporates early explorations of video and television, and looks forward to digital media and electronic processes. Though notoriously rigorous, Framptonâs films are infused with poetic tendencies and erudite wit, sustaining a dialogue with the materials of their making, and the viewerâs active participation in their reception.
âHapax legomena are, literally, âthings said onceâ ⊠The title brackets a cycle of seven films, which make up a single work composed of detachable parts ⊠The work is an oblique autobiography, seen in stereoscopic focus with the phylogeny of film art as I have had to recapitulate it during my own fitful development as a filmmaker.â (Hollis Frampton)
Hollis Frampton, (nostalgia), USA, 1971, 36 min
As a sequence of photographs is presented and slowly burned, a narrator recounts displaced anecdotes related to their production, shifting the relationship between words and images.
Hollis Frampton, Poetic Justice, USA, 1972, 31 min
A âfilm for the mindâ in which the script is displayed page by page for the viewer to read and imagine.
Hollis Frampton, Critical Mass, USA 1971, 16 min
Framptonâs radical editing technique disrupts and amplifies the already impassioned argument of a quarrelling couple.
Hollis Frampton, Travelling Matte, USA, 1971, 34 min
âThe pivot upon which the whole of Hapax Legomena turnsâ uses early video technology to interrogate the image.
Hollis Frampton, Ordinary Matter, USA, 1972, 36 min
This âheadlong diveâ from the Brooklyn Bridge to Stonehenge is a burst of exhilarated consciousness.
Hollis Frampton, Remote Control, USA, 1972, 29 min
âA âbaroqueâ summary of filmâs historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.â
Hollis Frampton, Special Effects, USA, 1972, 11 min
Stripping away content leaves only the frame. âPeople this given space, if you will, with images of your own devising.â
Hapax Legomena has been preserved through a major cooperative effort funded by the National Film Preservation Foundation and undertaken by Anthology Film Archives, MoMA, the New York University Moving Image Archiving and Preservation Program, and project conservator Bill Brand.
âOn the Camera Arts and Consecutive Matters: The Writings of Hollis Framptonâ, edited by Bruce Jenkins, was published by MIT Press in April 2009. The collection presents Framptonâs critical essays (many written for Artforum and October) along with additional material â including lectures, correspondence, interviews, production notes and scripts â which display his distinctive perspectives on photography, film, video, and the plastic and literary arts.
Also Screening: Thursday 29 October 2009, at 6:30pm, NFT3
PROGRAMME NOTES
HOLLIS FRAMPTION: HAPAX LEGOMENA
Saturday 24 October 2009, at 2pm
London BFI Southbank NFT3
Hapax legomena are, literally, âthings said onceâ. The Greek scholarly jargon refers to those words
that occur only a single time in the entire oeuvre of an author, or in a whole literature. The title brackets a cycle of seven films, which make up a single work composed of detachable parts, each of which may be seen separately for its own qualities. The work is an oblique autobiography, seen in stereoscopic focus with the phylogeny of film art as I have had to recapitulate it during my own fitful development as a filmmaker. Hapax Legomena incorporates what I could learn along the way of making it, and includes my own false starts and blind alleys ⊠what T.E. Hulme once called âthe cold walks, and the lines that lead nowhereâ. Such âdouble-visionâ â that is, the superimposition of a personal myth of the history of oneâs art upon a factual account of oneâs own persona â certainly does not originate with me. At least, I believe I see ample precedent in the last two books of James Joyce. (Hollis Frampton)
(NOSTALGIA)
Hollis Frampton, USA, 1971, 16mm, b/w, sound, 36 min
The narrative art of most young men is autobiographical. Since I have had little narrative experience, it seemed reasonable to accept biography as a convention, rather, however little information was available to me. My subject, hoping abjectly to be taken for a man of his time, had practiced rigorous self-effacement for a decade or more. So I was forced into examining his leavings and middens, like an archaeologist sifting for ostracizing pot shards. Since he had once been myself, I knew exactly where to look. Random debts and documents aside, he had left behind some thousands of still photographs made during his apprenticeship to the art I expound. Because my results were to be made public, I chose a mere dozen of these specimens to examine, leaving the rest for later investigators who would be doubly fortunate: first in their sentiment for their antagonist, and again in their intimacy with his work. (HF)
POETIC JUSTICE
Hollis Frampton, USA, 1972, 16mm, b/w, silent, 31 min
In Poetic Justice, Frampton presents us with a âscenarioâ of extreme complexity in which the themes of sexuality, infidelity, voyeurism are âprojectedâ in narrative sequence entirely through the voice telling the tale â again it is the first person singular speaking, however, in the present tense and addressing the characters as âyouâ, âyour loverâ, and referring to an âIâ. We see, on screen, only the physical aspect of a script, papers resting on a table ⊠and the projection is that of a film as consonant with the projection of the mind. (Annette Michelson)
CRITICAL MASS
Hollis Frampton, USA, 1971, 16mm, b/w, sound, 16 min
As a work of art I think Critical Mass is quite universal and deals with all quarrels (those between men and women, or men and men, or women and women, or children, or war.) It is war! ⊠It is one of the most delicate and clear statements of inter-human relationships and the difficulties of them that I have ever seen. It is very funny, and rather obviously so. It is a magic film in that you can enjoy it, with greater and greater appreciation, each time you look at it. Most aesthetic experiences are not enjoyable on the surface. You have to look at them a number of times before you are able to fully enjoy them, but this one stands up at once, and again and again, and is amazingly clear. (Stan Brakhage)
TRAVELLING MATTE
Hollis Frampton, USA, 1971, 16mm, b/w, silent, 34 min
One aspect of the film seems quite clear. Frampton is creating a metaphor for the artist, whose hand frames or moulds the world available to his perceptions according to the components of his vision and the limitations of his medium. Other aspects of this metaphor are suggested by Framptonâs inclusion of this revealing comment by Stan Brakhage in the Filmmakersâ Co-operative Catalogue: âThis film metaphors an entire human life: birth, sex, death â the framing device is the fingers and palm of the makerâs hand, wherein others only attempt to read the future.â While the events one sees through the opening in Framptonâs hand are generally fleeting and unspecific, it is possible that Brakhageâs description relates to the events we see through the hand: that the artistâs life begins when his medium begins to function, that he wanders through the world like a character out of Samuel Beckett, seeing various things, moving uphill for long periods until he attains, at least momentarily, a fuller vision (in one instance the hand comes away from the lens for a second), then moving back downhill until âhis batteries run downâ and all sensation ceases. (Scott MacDonald)
ORDINARY MATTER
Hollis Frampton, USA, 1972, 16mm, b/w, sound-on-cd, 36 min
I suppose I think of it as a kind of acceleration from Travelling Matte, the eye is groping and feeling its way and staggering, and so forth. And in Ordinary Matter the need somehow to worry about those words and still photographs, and so forth, is behind. Ordinary Matter is for me a kind of ecstatic, headlong dive. (And it goes through nature, architecture, high peaks of contemporary civilization, and through the oldest monuments that we have â the scope of it in time and space is so wide âŠ) and finally the eye that was trying to see out, through the little hole â through the fist, in Travelling Matte opens up and does, to an extent, really see out, or I feel it does, and ends with something that is a very old image in my eye, of running through corn fields as a child, with the leaves slapping me in the face, and the sun hitting me, and so forth ⊠(HF interviewed by Jonas Mekas)
REMOTE CONTROL
Hollis Frampton, USA, 1972, 16mm, b/w & colour, sound, 29 min
A âbaroqueâ summary of filmâs historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space. It incorporates three apposite âfoundâ narratives, condenses five ways of making, and includes a âsurpriseâ out of Haydn (or S.M. Eisensteinâs Ivan, Part II). (HF)
SPECIAL EFFECTS
Hollis Frampton, USA, 1972, 16mm, b/w, sound, 11 min
The frame itself, which divides what is present to consciousness from what is absolutely elsewhere, is tempered here by the breath, tremor, heartbeat of the perceiver. People this given space, if you will, with images of your own devising. The soundtrack was generated on a Buchla synthesizer at the University of Pittsburgh, through the kind intercession of Victor Grauer. (HF)
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Date: 24 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
HUMAN NATURE
Saturday 24 October 2009, at 7pm
London BFI Southbank NFT3
Friedl vom Gröller, Passage Briare, Austria, 2009, 3 min
A meeting of friends in a Paris backstreet, and an unexpected revelation.
Josef Dabernig, Hotel Roccalba, Austria, 2009, 10 min
In a subtle choreography, the occupants of a small Alpine hotel pass a lazy afternoon. Not much happens, but all may not be as it appears.
Jana Debus, Gregor Alexis, Germany, 2008, 20 min
The filmmakerâs schizophrenic brother recounts personal experiences, slipping between first and third person. The locations chosen for this portrait â a desolate apartment and a wasteland littered with abandoned machinery â are indicative of the condition of someone potentially as vulnerable as the insects that collect on his windowsill.
Ken Jacobs, The Discovery, USA, 2008, 4 min
Tomâs dextrous parlour game attracts unwanted attention. A stolen moment, frozen in time, now re-animated for all to see.
Jim Trainor, The Presentation Theme, USA, 2008, 14 min
As primitive Magic Marker drawings illustrate the myths and rituals of the ancient Moche civilisation, a disparaging narrator describes the tormented trials of a hapless creature amongst goblets of blood, fanged men and a sacrificial priestess.
Mara Mattuska & Chris Haring, Burning Palace, Austria, 2009, 32 min
This new collaboration between Mattuschka and Viennaâs Liquid Loft takes us behind the velvet curtains of the Burning Palace, whose peculiar inhabitants have an itch they just canât scratch.
PROGRAMME NOTES
HUMAN NATURE
Saturday 24 October 2009, at 7pm
London BFI Southbank NFT3
PASSAGE BRIARE
Friedl vom Gröller, Austria, 2009, 16mm, b/w, silent, 3 min
A woman, a man, a smile. They sit in the sun, and what links them is the filmâs real surprise: a matter-of-fact gesture which is probably taboo for others. Itâs up to the film itself to reveal what this gesture is. The anarchic humour of Passage Briare liberates the viewer for a brief, beautiful moment from the fear of getting old. (Maya McKechneay)
HOTEL ROCCALBA
Josef Dabernig, Austria, 2009, 35mm, b/w, sound, 10 min
Apparently over two years in the making (the artist displayed the script in a gallery exhibition in 2007, with suitably structural/conceptual directorial commentary), Hotel Roccalba is a small wonder, the sort of film that somehow manages to astonish with its precision while at the same time allowing enough basic human breathing room to permit limitless discovery. Like the best formalist efforts â Gerhard Richter paintings, Anton Webern compositions â you can naturally learn Dabernigâs film by heart because it does observe a kind of schematic organization. But it continues to unfold, with a warm, enveloping humour all the same. What really defines Hotel Roccalba is a bizarre, thrilling sense of the disorganized, random stuff of life being invisibly, imperceptibly choreographed; a God-like aspect that is gradually revealed, becoming a kind of Cubist hysteria. (Michael Sickinski)
GREGOR ALEXIS
Jana Debus, Germany, 2008, video, colour, sound, 20 min
An empty house. Beautiful, unobtrusive, rapt images of a demolished landscape. A cautious but moving documentary portrait of the directorâs schizophrenic brother. (Kunstfilm Biennale, Cologne)
THE DISCOVERY
Ken Jacobs, USA, 2008, video, colour, silent, 4 min
She thought Tom was alone. Have we people been just as we are for centuries and centuries? With no essential changes beyond our slang?(Ken Jacobs)
THE PRESENTATION THEME
Jim Trainor, USA, 2008, 16mm, b/w, sound, 14 min
The Presentation Theme is based on something very specific. This is not explicit in the film itself, which is elusive on that score â although I would like the audience to have the feeling that there is something ârealâ at the core of it. Or, to put it another way, that they would suspect, through the specificity of the references, that the filmmaker didnât just make everything up himself. I got the idea from certain archaeology books, which describe an ancient Peruvian culture called the Moche. They existed long before the Inca, around 100 to 800 AD, then disappeared. They left a lot of pottery behind, and some of the pottery is moulded into shapes of supernatural figures, rulers, animals, narrative scenes; and other pottery is plain in shape but is covered in painting â specifically cartoonish-looking figures, again enacting mythological themes. All of the art is quite mysterious, as there is no-one to interpret it for us (and no written language, of course). The moulded pottery often has erotic themes and the painted pottery often has themes of warfare and human sacrifice. âThe Presentation Themeâ in Moche archaeology refers to the human sacrifice narrative, in which the priests and priestesses are ultimately presented with goblets of victimsâ blood. (Jim Trainor)
BURNING PALACE
Mara Mattuska & Chris Haring, Austria, 2009, video, colour, sound, 32 min
Austrian filmmaker Mara Mattuschka has already worked with choreographer Chris Haring several times before and has transferred the dance performances created by him and his company âliquid loftâ into experimental films. After Legal Errorist (2005), Part Time Heroes (2007) and Running Sushi (2008) Mattuschka committed herself to Chris Haringâs choreographic trilogy âPosing Projectâ and made a film called Burning Palace out of the second, award-winning part âThe Art of Seductionâ. Five dancers journey through the emotions of Eros, in reality and in the imagination, in mythology and in the present day. Accompanied by strange-seeming sound collages, they stray through the labyrinthine corridors of the âBurning Palaceâ hotel. An ecstatic, melancholy epic of the tension that ensures survival and makes the Earth move. (www.impulstanz.com)
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Date: 25 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
THE EXCEPTION AND THE RULE
Sunday 25 October 2009, at 2pm
London BFI Southbank NFT3
Akosua Adoma Owusu, Me Broni Ba (My White Baby), USA-Ghana, 2008, 22 min
Driven by the pulsing sounds of Afrobeat and American soul, this spirited study of Ghanaian hair salons questions representations of beauty and ethnicity. While teams of women weave elaborate styles, children practice braiding on the blonde hair of white baby dolls, surplus stock exported from the West.
Laida Lertxundi, My Tears Are Dry, USA-Spain, 2009, 4 min
A song of heartache, an afternoonâs repose and the eternal promise of the blue California sky.
Karen Mirza, Brad Butler, The Exception and the Rule, UK-Pakistan-India, 2009, 38 min
Shot primarily in Karachi, The Exception and the Rule employs a variety of strategies in negotiating consciously political themes. Avoiding traditional documentary modes, the film frames everyday activities within a period of civil unrest, incorporating performances to camera, public interventions and observation. This complex work supplements Mirza/Butlerâs Artangel project âThe Museum of Non Participationâ.
PROGRAMME NOTES
THE EXCEPTION AND THE RULE
Sunday 25 October 2009, at 2pm
London BFI Southbank NFT3
ME BRONI BA (MY WHITE BABY)
Akosua Adoma Owusu, USA-Ghana, 2008, video, colour, sound, 22 min
From weaves to Jehri curls and dreads, the politics behind hairstyling comes from the roots of self-identification. I am always interested in representations of beauty. I wanted to use the specifics of hair as a metaphor for personal identity, culture, and language. I was also interested in showing the creativity of African women and how this creativity is applied to the body. Me Broni Ba was inspired by an event my older sister experienced when she immigrated to the States. My father told me she touched the hair of white children in her elementary class. The bold touch of the hair is what always stuck with me. Like my sister, I find it difficult to integrate successfully into both Ghanaian and American cultures, and it is often manifested in the way I style my hair. The text in the film came from an excerpt of her childhood journal, the film sort of stemmed from this. (Akosua Adoma Owusu)
MY TEARS ARE DRY
Laida Lertxundi, USA-Spain, 2009, 16mm, colour, sound, 4 min
A film in the three parts of a dialectic. Hoagy Landâs song is played and interrupted by guitar sounds, two women, a bed, an armchair, and the beautiful outside. The lyrics of the song reference the eternal sunshine of California and its promises. (Laida Lertxundi)
THE EXCEPTION AND THE RULE
Karen Mirza & Brad Butler, UK-Pakistan-India, 2009, video, colour, sound, 38 min
The Exception and the Rule, a film shot in Karachi as part of the Museum of Non Participation project, references problematic aspects of the ethnographic documentary film. How might one make a film about a foreign culture and thereby get away from oneâs own inscribed images of that culture? Furthermore, is it possible to make such a film and thereby include the perspectives of those being filmed? And, finally, which film genre is able to deal with this kind of theoretical issue? The result is an extremely idiosyncratic hybrid composed of various genres that do not permeate one another but are presented consecutively, in such a manner as to be cited as methods. Genres such as the classic ethnographic film pop up along with the experimental genres of first person documentary, conceptual film and the fake. If the Museum of Non Participation is a non-museum, The Exception and the Rule is a non-documentary film. One learns as little about a foreign culture via the media as one learns about the vital artistic moment (symbolized in myth by the muses) via a museum. The film entwines images of the Other in a complex interweave of medial references and formal refractions; it insists on the moment of non-communicable experience â and thus exacts from the viewer the direct, âuncomfortableâ encounter with the real Other. (Marcel Schwierin)
www.mirza-butler.net
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Date: 25 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
FILM IST. A GIRL & A GUN
Sunday 25 October 2009, at 4pm
London BFI Southbank NFT3
Gustav Deutsch, FILM IST. a girl & a gun, Austria, 2009, 97 min
Taking its cue from DW Griffith via J-L Godard, the latest instalment of the FILM IST series is a five-act drama in which reclaimed footage is interwoven with aphorisms from ancient Greek philosophy. Beginning with the birth of the universe, it develops into a meditation on the timeless themes of sex and death, exploring creation, desire and destruction by appropriating scenes from narrative features, war reportage, nature studies and pornography. The Earth takes shape from molten lava, and man and woman embark upon their erotic quest. For this mesmerising epic, Deutsch applies techniques of montage, sound and colour to resources drawn from both conventional film archives and specialist collections such as the Kinsey Institute and Imperial War Museum. Excavating cinema history to tease new meanings from diverse and forgotten film material, he proposes new perspectives on the cycle of humanity. The filmâs integral score by long-term collaborators Christian Fennesz, Burkhardt Stangl and Martin Siewert incorporates music by David Grubbs, Soap&Skin and others.
Also Screening: Thursday 29 October 2009, at 4pm, NFT2
PROGRAMME NOTES
FILM IST. A GIRL & A GUN
Sunday 25 October 2009, at 4pm
London BFI Southbank NFT3
FILM IST. A GIRL & A GUN
Gustav Deutsch, Austria, 2009, 35mm, colour, sound, 97 min
During the opening sequence of Gustav Deutschâs FILM IST. a girl & a gun, a film that received its North American premiere at the 2009 Tribeca Film Festival, we see violet-tinted footage of the real-life cowgirl and sharpshooter Annie Oakley demonstrating her prowess with a gun. After the opening title cards, the film opens with deep red moving images that evoke the creation of the world â shooting flames, circles of fire, smouldering lava, a large-breasted woman, bubbling ooze. Many sequences made with found footage would follow – most all from the silent cinema, but remade, tinted, and ordered in bravura of original filmmaking. Taking off from D.W. Griffithâs quote that all a film requires is a girl and a gun, Episode 13 of Deutschâs larger project, FILM IST, grows into an elemental exploration of Eros and Thanatos, sex and death.
In 1995, as many were celebrating the 100th anniversary of the birth of cinema, Austrian filmmaker Gustav Deutsch began his multi-year project on the meaning of cinema, sketching out a list of quotes about the art form. Soon, the project became a meditation on the meaning of cinema itself, one that the filmmaker likens to a naturally occurring phenomenon. Like the camera obscura this architect-trained artist has built near his house in Greece, its foundations resting on a concrete foundation of a World War II era German battery, the cinema can serve as a place to contemplate a spectacle of wonders and to ponder universal themes.
FILM IST. a girl & a gun follows the structure of a five act Greek drama, using classical texts by
Sappho, Hesiod and Platon. âI wasnât sure I would start with Genesis,â the filmmaker explained to me while visiting New York for the Tribeca premiere, âbut in the archives were these amazing volcanoes in Indonesia ⊠exceptional footage.â He continued, âI wanted to talk about the creation of the universe from the eyes of the goddess of creation, and then destruction. Thereâs no creation without destruction.â
After seeing images in the Imperial War Museum from the First World War, Deutsch explained, âIt was amazing to see how millions of men were fighting in a kind of âŠâ and here he inserts a word from German that means self-forgetting and self-annihilation â⊠that would never have been understandable. What belief system makes them act like this? I donât accept it. Human beings donât learn. Therefore, film is âmissionaryâ.â
Found footage filmmaking has its roots in experimental and avant-garde traditions. Joseph Cornell is often considered an important early pioneer of the art, Bruce Conner the king during his lifetime, and now Deutsch is considered the living master of this genre. His films are not just edited compilations of clips; rather, the elements become the artistic material in a painstakingly thought-out original artistic work. Much of the source images are orphan films, works that have been previously overlooked or neglected but are culturally significant. He seeks a range of materials, from science and education films to melodramas and slapstick comedies.
Four years in production, the first phase of FILM IST. a girl & a gun was to find material within the archives and to work on the 90-page script. âI wanted to choose long excerpts,â he said, âbecause I thought it was very important to get into the mood and sense it. To be shocked, aroused, to talk about it.â He started with list of ideas, sending âkeywordsâ to people in the archives. As with any filmmaker, another phase involved convincing the financial supporters to back the work.
He worked with ten archives in Europe, including a rich source in the Netherlands Filmmuseum, but he also wanted to draw upon material from the Kinsey Institute at Indiana University in Bloomington, the source of footage for explorations into sexuality. Because of the Instituteâs mandates that the material must follow the strict guidelines of the founder, including serving the purpose of science, it took Deutsch a year to convince them that his use of footage would be appropriate. Arriving in Indiana, he looked through 120 films and selected 42 for viewing, but one-fifth of them were not suitable for playing on an editing table. He helped preserve some of the fragile material for use by the archive by transferring them to other formats.
Together with his long-time partner, artist Hanna Schimek, he estimates that he viewed a total of over 2,500 films in multiple archives, some features and many short subjects, all the while taking notes and sketches. Paring down the potentially useful material to twenty-five hours of footage, he scanned and digitized the clips for his film library. Rendering the clips to black and white, Deutsch applied a range of twelve colours to the appropriate clips, each standing for different emotions. The colours also adhere to traditions in the aesthetics of silent film. He looks for images that can provide a âgatewayâ, as he calls them, to lead from one idea to the next. Each captured frame is 1.8 to 2MB, with notes to identify them. After editing for a year, they went to the archives to order films for scanning and another process of editing. He worked in a similar way with the composers for the original score. After ordering the sequence, the work was then blown up to a 35mm print.
One important theme of the work, Deutsch stressed to me in our conversation, was the search within relationships between males and females âfor the other halfâ. âFor exampleâ, he said, âI can shift my behaviour from male to female. The female part is not valued enough. We need to encourage all of us to work with the female side. The limitations of the existing material within the early era of cinema restricted my ability to visually show more of the female point of view.â In addition, he chose not to use images from the contemporary era, he explained, because most of the issues involving sex and warfare were already established with the first sexual revolution and the First World War. Like a girl and a gun, creation and destruction had already found their way into the spaces of the earliest cinema.
(Teri Tynes)
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Date: 25 October 2009 | Season: London Film Festival 2009 | Tags: London Film Festival
WHIRL OF CONFUSION
Sunday 25 October 2009, at 7pm
London BFI Southbank NFT3
Mary Helena Clark, And the Sun Flowers, USA, 2008, 5 min
âNotes from the distant future and forgotten past. An ethereal flower and disembodied voice guide you through the spaces in between.â (Mary Helena Clark)
Greg Pope, Shot Film, UK-Norway, 2009, 4 min
Taking the expression âto shoot a filmâ at face value, this 35mm reel has been blasted with a shotgun.
Matthias MĂŒller, Christoph Giradet, Contre-Jour, Germany, 2009, 11 min
My Eyes! My Eyes! Flickering out from the screen and direct to your retina, Contre-jour is not for the optic neurotic. Take a deep breath and try to relax as MĂŒller and Girardet conduct their examination.
David Gatten, Film for Invisible Ink Case No. 142: Abbreviation for Dead Winter (Diminished by 1,794), USA, 2008, 13 min
âA single piece of paper, a second stab at suture, a story three times over, a frame for every mile. Words by Charles Darwin.â (David Gatten)
Paul Abbott, Wolfâs Froth / Amongst Other Things, UK, 2009, 15 min
By chance or circumstance, wolfâs frothâs covert syntax refuses to be unpicked. Entangling anxious domesticity with the spectre of aggression, it conjures a mood of underlying discomfort and intrigue.
Lewis Klahr, False Aging, USA, 2008, 15 min
Klahrâs surreal collage journeys through lost horizons of comic book Americana and is brought back down to earth by Drellaâs dream. And nobody called, and nobody came.
Oliver Husain, Mount Shasta, Canada, 2008, 8 min
What is ostensibly a proposal for a film script is acted out, without artifice, in a bare loft space as Mantler plays a plaintive lament. A puppet show like none other that will leave you bemused, befuddled and bewildered.
PROGRAMME NOTES
WHIRL OF CONFUSION
Sunday 25 October 2009, at 7pm
London BFI Southbank NFT3
AND THE SUN FLOWERS
Mary Helena Clark, USA, 2008, video, colour, sound, 5 min
Henry James had his figure in the carpet; Da Vinci found faces on the wall.
Within this Baltimore wallpaper: a floral forest of hidden depth and concealment, the hues and fragrance of another era. Surface decoration holds permeable planes, inner passages. There emerges a hypnotic empyrean flower, a solar fossil, a speaking anemone, of paper, of human muscle, of unknown origin, delivering an unreasonable message of rare tranquillity. (Mark McElhatten)
SHOT FILM
Greg Pope, UK-Norway, 2009, 35mm, colour, sound, 4 min
A shotgun is aimed onto filmstrips. Images and sound are created through the destructive force and spread of the shot. Images as wound â entry and exit points. A pattern sliced and spliced, a single instant re-presented and duplicated through time. A literal interpretation unmasks the implied violence embedded in a common phrase âto shoot a filmâ. (Greg Pope)
CONTRE-JOUR
Matthias MĂŒller & Christoph Giradet, Germany, 2009, 35mm, colour, sound, 11 min
The look with which we comprehend the world and which it casts back at us in response breaks up in Contre-jour into disquieting fragments. Blurs, flashes and stroboscope montages disintegrate reality into shadowy images that inflict pain on the eye. A spotlight precisely cuts the individual out of the darkness.
âI wish you could see what I seeâ remains a futile hope. Blind spots gape between self-perception and the perception of others. (Kristina Tieke)
FILM FOR INVISIBLE INK CASE NO. 142: ABBREVIATION FOR DEAD WINTER (DIMINISHED BY 1,794)
David Gatten, USA, 2008, 16mm, b/w, sound, 13 min
Gattenâs Film takes up Darwin to nearly fossilize his words and attempt minute rediscovery in a paperâs inky fibres. Constantly turning the focus (so it seems), Gatten lets these gossamer ink-strands ripple into view out of total blankness (an empty world), more and more, so that even when they are in focus, theyâre still just an abstraction: a bunch of fibres entwined. And even, then, of course, thereâs the feeling that if Gatten keeps refocusing heâll discover entirely new strands as well; appropriate to a film whose words are from Darwin, Film feels like an archaeological dig. (David Phelps)
www.davidgattenfilm.com
WOLFâS FROTH / AMONGST OTHER THINGS
Paul Abbott, UK, 2009, video, colour, sound, 15 min
FALSE AGING
Lewis Klahr, USA, 2008, video, colour, sound, 15 min
Itâs hard to believe that False Aging clocks in at under 15 minutes, given how powerfully it evokes passing decades punctuated by muffled eruptions of longing and regret. A button revolves around a clock â and the world moves with it. Klahr shares Joseph Cornellâs alchemical genius, but his collaged reveries cast deeper shadows and offer little magical protection from death and disappointment. The soundtrack draws on The Valley of the Dolls, Jefferson Airplane, and Lou Reed & John Caleâs âSongs for Drellaâ.
âAs Cale channels Warhol, recounting a nightmare involving a snowy park under the stairs and anxieties about troubles real and imagined, a blond man peers at cityscapes, a skeletal hand snatches a fortune, and no-longer-redeemable trading stamps flutter by.â (Kristin M. Jones)
MOUNT SHASTA
Oliver Husain, Canada, 2008, 16mm, colour, sound, 8 min
Pastel-coloured institutional walls contain fabric-and-pipe-cleaner inventions of a whimsy that almost seems forced, were it not for the total belief evinced by those participating in it. In the background, a man at a cheap keyboard (again, of the sort familiar from middle-school music rooms of a certain era) warbles a story-song as half-formed handkerchief puppets fly around each other on visible wires, the puppeteers made âinvisibleâ by their white canvas beekeeper suits. Husainâs story is about a mountain trip waylaid by a fog which turns out to be the smoke from a destructive fire. In a sense, this could be a way of understanding Mount Shasta as a film. The elements that envelop this gorgeous film in mystery (is this avant-garde? a narrative short?
a childrenâs film?) are also the ones that threaten to unmake it at every turn, since âthe spellâ is always already about our ability to turn away from its blatant disenchantment. (Michael Sickinski)
www.husain.de
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