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FILM AS FILM: GREGORY J. MARKOPOULOS The meticulously crafted films made by Gregory Markopoulos encompass mythic themes, portraiture and studies of landscape and architecture. Employing spontaneous in-camera superimposition and complex editing techniques, he sought to unlock the mystery and energy contained within the single frame. This rare opportunity to encounter a true cinematic visionary celebrates the publication of his collected writings and will be introduced by the book\u2019s editor Mark Webber.<\/p>\n Gregory Markopoulos, Ming Green, 1966, 7 min Presented by Cinecity 15th Brighton Film Festival and supported by the University of Sussex Centre for American Studies, in collaboration with the University of Brighton.<\/p>\nPROGRAMME NOTES<\/a> FILM AS FILM: GREGORY J. MARKOPOULOS MING GREEN THROUGH A LENS BRIGHTLY: MARK TURBYFILL TWICE A MAN
\nSaturday 29 November 2014, at 6pm
\nBrighton Museum & Art Gallery<\/strong><\/p>\n
\nGregory Markopoulos, Through a Lens Brightly: Mark Turbyfill, 1967, 14 min
\nGregory Markopoulos, Twice a Man, 1963, 46 min<\/strong><\/p>\n
\n<\/strong>29 November 2014, at 6pm
\nBrighton Museum & Art Gallery<\/p>\n
\nGregory J. Markopoulos, USA, 1966, 16mm, colour, sound, 7 min
\n<\/strong>An extraordinary self-portrait conveyed through multiple layered observations of the filmmaker\u2019s sparsely furnished room in Greenwich Village.<\/p>\n
\nGregory J. Markopoulos, USA, 1967, 16mm, colour, sound, 14 min
\n<\/strong>The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through a unique form of cinematic portraiture that encompasses the person, their environment and personal objects.<\/p>\n
\nGregory J. Markopoulos, USA, 1963, 16mm, colour, sound, 46 min
\n<\/strong>Twice A Man<\/em> is a fragmented re-imagining of the Greek myth of Hippolytus, who was killed after rejecting the advances of his stepmother. Markopoulos\u2019 vision transposes the legend to 1960s New York and has its main character abandon his mother for an elder man. Employing sensuous use of colour, the film radicalised narrative construction with its mosaic of \u2018thought images\u2019 that shift tenses and compress time. One of the touchstones of independent filmmaking, Twice A Man<\/em> was made in the same remarkable milieu as Scorpio Rising<\/em> and Flaming Creatures<\/em> by a filmmaker named \u2018the American avant-garde cinema\u2019s supreme erotic poet\u2019 by its key critic P. Adams Sitney.<\/p>\n