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REVERENCE: <\/strong>THE FILMS OF OWEN LAND (FORMERLY KNOWN AS GEORGE LANDOW) \u201cMy approach is to throw in everything but the kitch in sync.\u201d (Owen Land, 1997)<\/em><\/p>\n Owen Land (formerly known as George Landow) was one of the most original American filmmakers of the 1960s and 1970s. His works fused an intellectual sense of reason with the irreverent wit that distances them from the supposedly \u2018boring\u2019 world of avant-garde film.<\/p>\n His early materialist works anticipated Structural Film, the definition of which provoked his rejection of film theory and convention. Having explored the physical qualities of the celluloid strip, his attention turned to the spectator in a series of \u2018literal\u2019 films that question the illusionary nature of cinema through the use of elaborate wordplay and visual ambiguity. The characters in Land\u2019s films are often the antithesis of those we might expect to see, such as podgy middle aged men and radical Christians. He sometimes parodies experimental film itself, by mimicking his contemporaries and mocking the solemn approach of its scholars.<\/p>\n Land constructs \u2018facades\u2019 of reality, often directly addressing the viewer using the language of television, advertising or educational films, and proposes an alternative logic for a medium that has become over theorised and manipulated. He has exposed the material of film and deconstructed the process and the effect, while covering the \u2018big topics\u2019 of religion, psychoanalysis, commerce and pandas making avant-garde movies.<\/p>\n \u201cMy films are not intended as entertainment or easy viewing. They do not attempt to engage the spectator on an emotional level. Therefore audience reactions are unpredictable, especially during <\/em>Diploteratology or Bardo Follies<\/em>. A showing for the wrong type of audience could be commercially disastrous, though not necessarily without benefit.\u201d (George Landow, 1969)<\/em><\/p>\n Programme One<\/span><\/p>\n Owen Land, Remedial Reading Comprehension, 1970, 5 min Programme Two<\/span><\/p>\n Owen Land, The Film that Rises to the Surface of Clarified Butter, 1968, 9 min Tour Dates<\/span><\/p>\n 25\/26 January 2005, Austrian Film Museum REVERENCE is a LUX project in association with \u00d6sterreichisches Filmmuseum, Vienna. Curated by Mark Webber. Supported by Arts Council England. The films of Owen Land have been preserved by \u00d6sterreichisches Filmmuseum, Vienna, in co-operation with Anthology Film Archives (New York), Haghefilm (Amsterdam) and Listo-Film (Vienna). Film stills \u00a9 2004 Owen Land & \u00d6sterreichisches Filmmuseum, Vienna. All stills created by Georg Wasner. All uncredited quotations by Owen Land (formerly known as George Landow).<\/em><\/p>\n
\nJanuary 2005\u2014<\/b>April 2007
\nInternational Touring Programme
\n<\/strong><\/p>\n
\nOwen Land, Fleming Faloon, 1963, 5 min
\nOwen Land, Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc., 1965-66, 4 min
\nOwen Land, Bardo Follies, 1967-76, 25 min
\nOwen Land, What’s Wrong With This Picture 1, 1971, 5 min
\nOwen Land, What’s Wrong With This Picture 2, 1972, 7 min
\nOwen Land, Institutional Quality, 1969, 5 min
\nOwen Land, On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and its Relation to the Unconscious or Can the Avant-Garde Artist Be Wholed ?, 1977-79, 18 min<\/strong><\/p>\n
\nOwen Land, Diploteratology, 1967-78, 7 min
\n<\/em>Owen Land, \u201cNo Sir, Orison!\u201d, 1975, 3 min
\nOwen Land, Wide Angle Saxon, 1975, 22 min
\nOwen Land, Thank You Jesus for the Eternal Present, 1973, 6 min
\nOwen Land, A Film of Their 1973 Spring Tour Commissioned by Christian World Liberation Front of Berkeley, California, 1974, 12 min
\nOwen Land, New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops, 1976, 10 min<\/strong><\/p>\n
\n28 January-6 February 2005, Rotterdam Film Festival
\n11\/12 & 18\/19 February 2005, London Tate Modern
\n25-26 February 2005, Leeds Lumen
\n7 March 2005, Newcastle Side Cinema
\n10\/13 March 2005, Barcelona CCCB
\n17\/24 March 2005, Glasgow Film Theatre
\n30\/31 March 2005, Athens Microcosmos
\n6\/8 April 2005, Paris Centre Pompidou
\n20-24 April 2005, Osnabruck European Media Art Festival
\n26 April 2005, Bremen Kino 46
\n1\/8 May 2005, Sheffield Showroom
\n3\/4 May 2005, Geneva Cin\u00e9ma Spoutnik & Esba
\n22-29 May 2005, Zurich Videoex
\n23\/24 May 2005, Norwich Outpost
\n9\/16 June 2005,Strasbourg Musee d\u2019Art Moderne et Contemporain
\n15-20 June 2005, Oslo Norwegian Short Film Festival, Oslo
\n1\/5 July 2005, Frankfurt Deutsches Filmmuseum
\n16 July 2005, Hull International Short Film Festival
\n27 July-8 August 2005, Brisbane International Film Festival
\n14\/15 August 2005, Melbourne Australian Centre for the Moving Image
\n3 September 2005, Sydney Performance Space
\n13\/20 September 2005, University of Wisconsin Union Theatre
\n26 September 2005, Lisbon Biennale
\n1\/8 October 2005, Chicago Filmmakers
\n6\/20 October 2005, Columbus Wexner Center
\n14\/16 October 2005, San Francisco Cinematheque
\n25\/26 October 2005, Portland Cinema Project
\n2-27 November 2005, Whitney Museum of American Art, New York – exhibition
\n<\/a>1 December 2005, Syracuse University
\n10 December 2005, Pleasure Dome, Toronto
\n22\/29 January 2006, Los Angeles Filmforum
\n18\/19 March 2006, Buffalo Hallwalls
\n16 April 2007, Cambridge Harvard Film Archive<\/p>\n