{"id":1171,"date":"2003-11-01T19:00:32","date_gmt":"2003-11-01T19:00:32","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1171"},"modified":"2018-01-25T15:00:18","modified_gmt":"2018-01-25T15:00:18","slug":"illumination","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2003\/11\/01\/illumination\/","title":{"rendered":"Illumination"},"content":{"rendered":"

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ILLUMINATION
\n<\/b>Saturday 1 November 2003, at 7pm
\n<\/b>London National Film Theatre NFT3<\/b><\/p>\n

Rebecca Meyers, Glow in the Dark (January-June), USA, 2002, 6 min
\n<\/b>A somnambulant chronicle of night-time luminosity, and the sounds that keep us awake in the lonely twilight.<\/p>\n

Goh Harada, Lampenschwarz, Japan-Germany, 2001, 12 min
\n<\/b>Tactile, imageless film created using clear film and black pigment, which has been manually rubbed into a layer of transparent silicone. In projection, it becomes a rapid and infinitely complex hypnagogic vision.<\/p>\n

Fred Worden, If Only, USA, 2003, 7 min
\n<\/b>Points of light burst through the darkness in a surge of abstract motion. Luminous stimulation for the subconscious.<\/p>\n

Ichiro Sueoka, I am Lost to the World, Japan, 2003, 7 min
\n<\/b>Re-appropriation of anonymous footage shot in Kyoto 1934; its fractured images ravaged by chemical and physical decay. \u2018Film is not an immortal document; it is a vanishing existence.\u2019<\/p>\n

Thomas Draschan, Encounter in Space, Austria-Germany, 2003, 7 min
\n<\/b>Science, the space race and more earthy pursuits: formal and narrative strategies applied to found footage to create a supernatural adventure.<\/p>\n

James Otis, Common Knowledge, USA, 2002, 2 min
\n<\/b>\u2018Upbeat, fast-paced, crowd-pleasing investigation of marketing and the original sin, based on a South African apple juice commercial. The sound track is an obsessively synchronised, mad marimba version of the old mission hymn, \u2018From Greenland\u2019s Icy Mountains\u2019.\u2019<\/p>\n

Sandra Gibson, Outline, USA, 2003, 6 min
\n<\/b>Direct cinema barrage of light and colour, in cinemascopic glory.<\/p>\n

Louise Bourque, Jours en Fleurs, Canada, 2003, 5 min
\n<\/b>A symphony of nature told in a shower of golden colours that reveal a microcosm of cellular structures. Film emulsion transfigured by incubation in menstrual blood.<\/p>\n

Trish Van Huesen, Resurrection, USA, 2002, 3 min
\n<\/b>The emergence of consciousness as beatific reawakening. A whiff of the \u2018The Passion of Carl Th. Dreyer\u2019 somehow embodied within a hand processed, scratched, painted and bleached Super-8 blow-up. Music by cyclic Icelandic wonderkind Eyvind Kang.<\/p>\n

Lewis Klahr, Daylight Moon, USA, 2002, 14 min
\n<\/b>Using collage animation, Klahr conjures up an evocative, hermetic world. The sense of quiet melancholy suggests a loss of innocence, both personal and collective, which is pictorially represented by the 1950s consumer boom.<\/p>\n

PROGRAMME NOTES<\/a>

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ILLUMINATION
\n<\/b>Saturday 1 November 2003, at 7pm
\nLondon National Film Theatre NFT3<\/p>\n

GLOW IN THE DARK (JANUARY-JUNE)
\nRebecca Meyers, USA, 2002, 16mm, colour, sound, 6 min
\n<\/b>Radiators clang while spheres and cypridina phosphoresce. A rubber ball held up to light becomes a snowy crystal. Looking out and up when the sun is down. Home science experiments and other attempts to see with the camera in the dark. \u2014Rebecca Meyers<\/p>\n

LAMPENSCHWARZ
\nGoh Harada, Japan-Germany, 2001, 16mm, b\/w, silent, 12 min
\n<\/b>Black surface made with black pigment meets white surface created by the projection lamp. The film Lampenschwarz<\/i> was made solely by manual work only using black pigment (Lampenschwarz), transparent glue and blank film. These materials were brought onto the transparent film with the tips of the fingers, frame by frame. This film shows 17,000 of these different black and white images through the rapid speed of the projector, thus creating \u2018black and white movements\u2019. \u2014Goh Harada<\/p>\n

IF ONLY
\nFred Worden, USA, 2003, 16mm, b\/w, silent, 7 min
\n<\/b>The bubble shaped orb of the human head, perched atop its touchy-feely transport system has seven moist oval openings through which everything outside comes in: two eyes, two nostrils, one mouth and two ears. Inside the bubble head, bubble universes spawn ad infintum and the only passable direction is directly into the steady headwinds of an ever advancing infinity of veils. A high wire bobbing and weaving just to stay upright. These artful if endless veil penetrations are at once the human job description as well as nature\u2019s shot at vindicating the transient in the face of the impassive infinite. Nature makes the orifices moist so things can stick, at least momentarily. The intoxicated camera operator shoots the moon slipping through the barren trees. The rabbit hole\u2019s light shadow appears and he obliges, head first, no looking back. His cranium (like yours) is packed with illusions, but down the rabbit hole they treasure the same just so long as they\u2019re custom fabricated, hand tooled and conscious. Down this hole, stalking the unforeseen non-translatable is all. Join in here. \u2014Fred Worden<\/p>\n

I AM LOST TO THE WORLD
\nIchiro Sueoka, Japan, 2003, 16mm,  b\/w, sound, 7 min
\n<\/b>This title is quoted from the poetry of Friedrich Rueckert (\u201cIch bin der Welt abhanden gekommen\u201d). This German romanticist poet wrote of the sadness of disappearance. An anonymous amateur cineaste shot and recorded the some scenes of Kyoto in 1934, but the films are suffering from vinegar syndrome, since they have been badly stored. The films were just falling into decay, and would probably only disappear, without looking back to anyone. \u2018Film\u2019 is not an immortal document, but a vanishing existence. \u2014Ichiro Sueoka <\/p>\n

ENCOUNTER IN SPACE
\nThomas Draschan, Austria-Germany, 2003, 16mm, colour, sound, 7 min
\n<\/b>Encounter in Space<\/i> relates the story of a man and his alter egos, abandoned in the midst of an unknown extraterrestrial region, immersed in the sinister light of an unholy radiation, which arouses in him sexual craving and human desire. He has to encounter a number of adventures and to give proof of his potency, while having to cope with an eye operation and several other incidents. He is noticeably getting lost in the battles among his alter egos. Eventually, part of his personality leaves the planet, and the part of his personality that remains behind is able to embark in peace on a quest for new amusements. \u2014Thomas Draschan<\/p>\n

COMMON KNOWLEDGE
\nJames Otis, USA, 2002, 16mm, colour, sound, 2 min
\n<\/b>Upbeat, fast-paced, crowd-pleasing investigation of marketing and the original sin, based on a South African apple juice commercial. The sound track is an obsessively synchronised, mad marimba version of the old mission hymn, \u201cFrom Greenland\u2019s Icy Mountains\u201d. \u2014James Otis<\/p>\n

OUTLINE
\nSandra Gibson, USA, 2003, 35mm, colour, silent, 6 min
\n<\/b>Defining the shape of everyday objects (ferns, forks and flowers), the strip of film was unwound on the studio floor and decoratively stencilled. At 24 frames per second, the objects dissolve into a filmic downpour. \u2014Luis Recoder<\/p>\n

JOURS EN FLEURS
\nLouise Bourque, Canada, 2003, 16mm, colour, sound, 5 min
\n<\/b>A reclamation of flower-power in which images of trees in springtime bloom are subjected to the floriferous ravages of menarcheal substance. The title is based on an expression from my coming of age in French Canada, where girls would refer to having their menstrual periods as \u2018\u00eatre dans ses fleurs\u2019. As a result of incubation in menstrual blood for several months, the original images on the emulsion undergo violent alterations. The shedding of the unfertilised womb depredates the fertilised blossoms and substitutes its own dark beauty. From the dissolution of the pro-filmic, the scale shifts abruptly and kaleidoscopically from the macro to the microcosmic and with it another representation of nature emerges. \u2014Louise Bourque<\/p>\n

RESURRECTION
\nTrish Van Huesen, USA, 2002, 16mm, colour, sound, 3 min
\n<\/b>A hand processed Super-8 film, where individual frames have been scratched, painted and bleached in order to portray the emergence of consciousness. \u2014Trish Van Huesen<\/p>\n

DAYLIGHT MOON
\nLewis Klahr, USA, 2002, 16mm, colour, sound, 14 min
\n<\/b>There are things I could say about Daylight Moon<\/i> but very few I want to before someone has seen it. But I will say this: of all the films I\u2019ve made using collage to muck around in the past, this one gets the closest to what I\u2019m after. \u2014Lewis Klahr<\/p>\n

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Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[45],"tags":[9],"class_list":["post-1171","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2003","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1171"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1171\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1171"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}