<\/p>\n
INTIMATE VISION: FILMS BY CHICK STRAND
\n<\/strong>Sunday 23 October 2011, at 2pm
\nLondon BFI Southbank NFT3<\/p>\nFor most of her filmmaking career, the integrity of Chick Strand\u2019s vision lay aslant of prevailing fashions, so that only belatedly did the full significance of her radically pioneering work in ethnographic, documentary, feminist, and compilation filmmaking \u2013 and above all, in the innovation of a unique film language created across these modes \u2013 become clear. Though feminism and other currents of her times are woven through her films and though her powerful teaching presence sustained the ideals of underground film in several film schools in Los Angeles, hers was essentially a school of one. (David James, The Most Typical Avant-Garde)<\/p>\n
CARTOON LE MOUSSE
\nChick Strand, USA, 1979, 16mm, b\/w, sound, 15 min
\n<\/strong>Chick Strand is a prolific and prodigiously gifted film artist who seems to break new ground with each new work. Her recent \u2018found footage\u2019 works, such as Cartoon le Mousse<\/em>, are extraordinarily beautiful, moving, visionary pieces that push this genre into previously unexplored territory. If poetry is the art of making evocative connections between otherwise dissimilar phenomena, then Chick Strand is a great poet, for these films transcend their material to create a surreal and sublime universe beyond reason. (Gene Youngblood)<\/p>\nMOSORI MONIKA
\nChick Strand, USA, 1970, 16mm, colour, sound, 20 min
\n<\/strong>An expressive documentary about women in the Third World. This is an ethnographic film about two cultures that have encountered one another. The Spanish Franciscan Missionaries went to Venezuela in 1945 to \u2018civilize\u2019 the Warao Indians, who live in the swamps on the Orinoco River Delta. Before the missionaries came, the Waraos lived in relative isolation and were little affected by the outside world. The relationship between the Indians and the missionaries is simple on the surface, but it is manifested in a complex change of techniques, values and lifestyle which have indelibly altered the Warao vision of life. The acculturation is presented from two viewpoints. A nun tells how the Indians lived when the missionaries arrived and what the nuns have done to \u2018improve\u2019 conditions, both spiritually and materially. An old Warao Indian woman tells what she feels has been the important experiences in her life. The two viewpoints are structured in counterpoint so that the deeper aspects of the juxtaposition of the modern culture over the old becomes apparent through the revelations of the two women. (Chick Strand)<\/p>\nANGEL BLUE SWEET WINGS
\nChick Strand, USA, 1966, 16mm, colour, sound, 3 min
\n<\/strong>An experimental film poem in celebration of life and visions. Techniques include live action, animation, montage and found images. (Chick Strand)<\/p>\nLOOSE ENDS<\/strong>
\n Chick Strand, USA, 1979, 16mm, b\/w, sound, 25 min<\/strong>
\nLoose Ends<\/em> is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-increasing numbers and complicated mixtures of fantasy, dream and reality from both outside and in, these fragmented images of life, sometimes shared by all, sometimes isolated and obscure, but with common threads, lead us to a state of psychological entropy tending toward a uniform inertness \u2026 an insensitive uninvolvement in the human condition and our own humanity. (Chick Strand)<\/p>\nARTIFICIAL PARADISE<\/strong>
\n Chick Strand, USA, 1986, 16mm, colour, sound, 13 min<\/strong>
\nAztec romance and the dream of love. The anthropologist\u2019s most human desire \u2013 the ultimate contact with the informant. The denial of intellectualism and the acceptance of the romantic heart, and a soul without innocence. (Chick Strand)<\/p>\n <\/p>\n
KRISTALLNACHT
\n<\/strong>Chick Strand, USA, 1979, 16mm, b\/w, sound, 7 min<\/strong>
\nDedicated to the memory of Anne Frank, and the tenacity of the human spirit. (Chick Strand)<\/p>\nLoose Ends was preserved by Pacific Film Archive, Berkeley. All other films preserved by Pacific Film Archive and Academy Film Archive, Los Angeles, with support from the National Film Preservation Foundation.<\/em><\/p>\nBack to top<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
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":[60],"tags":[9],"class_list":["post-1689","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2011","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1689","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=1689"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1689\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}