<\/p>\n
WHEN LATITUDES BECOME FORM
\n<\/strong>Saturday 25 October 2008, at 9pm
\nLondon BFI Southbank NFT3<\/p>\nIN THE KINGDOM OF SHADOWS
\nFrancisca Duran, Canada 2006, video, b\/w, sound, 6 min
\n<\/strong>In the Kingdom of Shadows <\/em>documents a paragraph being typeset on an early twentieth-century Ludlow Linecaster. The text is taken from Maxim Gorky\u2019s 1896 review of the Lumi\u00e8re Brothers\u2019 film L\u2019Arriv\u00e9e d\u2019un train en gare de la Ciotat <\/em>(1895). As the words melt into a pool of lead, the alchemical magic of printing is linked to that of cinema. Commissioned by the Liaison of Independent Filmmakers of Toronto (LIFT) for their 25th anniversary program, \u2018Film is Dead! Long Live Film!\u2019 (Canadian Filmmakers Distribution Centre)<\/p>\nHOW TO CONDUCT A LOVE AFFAIR
\nDavid Gatten, USA, 2007, 16mm, b\/w & colour, silent, 8 min
\n<\/strong>An unexpected letter leads to an unanticipated encounter and an extravagant gift. Some windows open easily; other shadows remain locked rooms. Advice is sometimes easy to give, but often hard to follow. Have a cup of tea dear. I\u2019ll trade you a stitch from the past in return for a leaf from the future. This is a Valentine and this is a fragment: for the one who mends my rips; from the next instalment of the Byrd project Secret History of the Dividing Line, a True Account in Nine Parts<\/em>. (David Gatten)
\nwww.davidgattenfilm.com<\/p>\nTHE PARABLE OF THE TULIP PAINTER AND THE FLY
\nCharlotte Pryce, USA, 2008, 16mm, colour, silent, 4 min
\n<\/strong>Inspired by Dutch paintings from the 17th century \u2013 as indeed are all my films \u2013 it features a tulip, the painting of a tulip and a fly. An intoxicating flower; a metaphorical insect; a longing reach across the centuries. The film is a philosophical search drenched in luminous colours and sparkling light, shot on colour reversal, entirely hand-processed and re-printed on the optical printer. (Charlotte Pryce)<\/p>\nDEEP SIX
\nSami van Ingen, Finland, 2007, 35mm, colour, sound, 7 min
\n<\/strong>Deep Six <\/em>has three starting points: a little narrative re-edited from a Hollywood B-movie (The Rage<\/em>, 1998), an attempt to use the colour photocopy as a cinematic aesthetic and an exploration of the frame line as a dynamic visual element. The pictoral narrative in the work, a timber lorry racing on a mountain road, acts as a metaphor for change and of loss. In a wider sense the narrative also represents all traditional narrative structures, with the three compulsory parts: the Exposition, Rising Action and Climax. In Deep Six <\/em>I strive to have the mechanical touch of my hand visible as a comment on the analogue nature of the medium \u2013 what we see depends on the condition of the lamp, the condition of the actual surface of the film print and of the projectionist\u2019s ability to focus the film. The discrepancies in my images, made by contact printing, by hand, strips of photocopied overhead transparencies onto 35mm film, the strong frame line and sideways movement and the strong texture of the photocopied surface is an attempt to work the screen surface and the framing of the cinematic image. (Sami van Ingen)<\/p>\nDE TIJD
\nBart Vegter, Netherlands, 2008, 35mm, colour, silent, 9 min
\n<\/strong>For almost thirty years now, Bart Vegter has been making abstract animations. His first four films were exquisitely minimal geometric compositions made using a variety of traditional animation techniques. The last fifteen years Bart Vegter has been making his films on the computer, writing his own software to explore the worlds of patterns hidden in complex mathematical algorithms. These patterns often evoke natural phenomena like the shapes of sand dunes or the weather. His most recent work De Tijd <\/em>(Time) marks a return to a more geometrical world of forms. \u2018A monochrome flat image changes slowly into a theatrical spectacle in which colour subtly melts and solidifies lines and conical forms. At the end, the colours lose their power and all that is left is the basic structure of the image, the skeleton.\u2019 This is the second work by Vegter that uses Fourier transformation, this time in three dimensions. (Joost Rekveld)<\/p>\nHORIZONTAL BOUNDARIES
\nPat O\u2019Neill, USA, 2008, 35mm, colour, sound, 23 min
\n<\/strong>Horizontal Boundaries <\/em>is a film that looks at certain aspects of the geography of California as the ground for cinematic disruption and restatement. The \u2018boundaries\u2019 in question turn out to be frame lines, the divisions between two images, one above the other on a strip of 35mm film. The projector gate is adjustable up or down in order to produce a single uninterrupted image: in this film the frame line is integrated into the compositional language of the piece. It is not a static repositioning, but rather a dynamic one, moving more or less randomly, causing image combinations to be generated unpredictably. The result is a tapestry of exquisite contradiction. Irish traditional songs \u2018Carranroe\u2019 and \u2018Out on the Ocean\u2019, performed by George Lockwood, fiddle. A portion of a composition \u2018Nak Won\u2019, by Carl Stone. Language on the track was edited from two 1955 radio shows, \u2018<\/em>Dragnet\u2019 featuring Jack Webb. Other original sound sources, and mix, by George Lockwood. (Pat O\u2019Neill)<\/p>\nEASTER MORNING
\nBruce Conner, USA, 2008, video, colour, sound, 10 min
\n<\/strong>This is Bruce Conner\u2019s last completed film. It is derived from the 8mm footage of Easter Morning Raga <\/em>(1966). Conner originally showed Easter Morning Raga <\/em>projecting at variable frame rates and with loops, some prints were made but the film was never released for circulation. Easter Morning <\/em>revisits the earlier material resetting it to a version of Terry Riley\u2019s landmark minimalist composition \u2018In C\u2019 (1964) recorded by the Shanghai Film Orchestra in 1989. The use of traditional Chinese instruments in this unusual recording gives the music a shift in timbre that is revelatory, beautifully matching the radiance and open heartedness of this mind manifesting optical poem. (Mark McElhatten, New York Film Festival Views From the Avant-Garde)<\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
An extremely rare opportunity to see new 35mm prints of films by French writer and theorist Guy Debord, best known for The Society of the Spectacle. <\/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":[8],"tags":[9],"class_list":["post-1466","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2008","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1466","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=1466"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1466\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}