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THE FILM ACCORDING TO OWEN LAND (FORMERLY KNOWN AS CINEMA ACCORDING TO GEORGE LANDOW)<\/strong> Ranging from the celebrated early structural films through to the post-modern and referential works which combine\/confuse humour with dense theoretics, here are the incredible works of cinema\u2019s mystery man Land(ow) (including the rarely screened original version of Institutional Quality<\/em>). He exposed the material of film, deconstructed the process and the effect, while covering the \u2018big topics\u2019 of religion, psychoanalysis, capitalism and pandas making avant-garde movies. Last reported to be making a feature length revisionist history of underground film on 35mm.<\/p>\n Owen Land, Diploteratology or Bardo Follies, USA, 1967, silent, colour, 20 min <\/strong>(full version) THE FILM ACCORDING TO OWEN LAND (FORMERLY KNOWN AS CINEMA ACCORDING TO GEORGE LANDOW) \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 Diploteratology or Bardo Follies<\/em>. A showing for the wring type of audience could be commercially disastrous, though not necessarily without benefit.\u201d (Owen Land (formerly known as George Landow), Film-Makers Lecture Bureau Catalogue No.1<\/em>, 1969)<\/p>\n \u201cSince the late 1960s, the films of Owen Land (formerly known as George Landow) have punctured education\u2019s pretensions and avant-garde premises and styles. His work stands comically against disciplines \u2013 artistic and pedagogic. The wry humorist deflates current fashion \u2013 avant-garde film tenets, audiences, student films, psychoanalysis and structural film. In many ways, all of his works, including performance and then video, are critiques of avant-garde practises. Land uses the stuff of education, including the arbitrary pleasures of language\u2019s puns and sounds, to marshal his attack on the lunacy of disciplines. His films depict simulations of simulations of \u2018real\u2019 life that become increasingly fantastic and elaborate. Land\u2019s work is a playful theory of comedy and a compendium of the sound-image-audience triangle. His films address art with forms of popular culture, recycling old formulas into critique, of commodity culture and art, without the ponderous baggage of moral condemnation.\u201d (Patricia Mellancamp, extracts from \u201cIndiscretions: Avant-garde Film, Video & Feminism\u201d, 1990)<\/p>\n
\nWednesday 17 July 2002, at 7:30pm<\/strong>
\n London The Photographers’ Gallery<\/strong><\/p>\n
\nOwen Land, The Film that Rises to the Surface of Clarified Butter, USA, 1968, b\/w, sound, 10 min<\/strong>
\nOwen Land, Institutional Quality, USA, 1969, colour, sound, 5 min<\/strong> (original version)
\nOwen Land, Wide Angle Saxon, USA, 1974, colour, sound, 22 min<\/strong>
\nOwen Land, \u201cNo Sir, Orison\u201d, USA, 1975, colour, sound, 3 min<\/strong>
\nOwen Land, Thank You Jesus for the Eternal Present: 1, USA, 1973, colour, sound, 6 min<\/strong>
\nOwen Land, A Film of Their 1973 Spring Tour Commissioned by Christian World Liberation Front of Berkeley, California, USA, 1974, b\/w, sound, 11 min<\/strong>
\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?, USA, 1980, sound, colour, 18 min<\/strong><\/p>\nPROGRAMME NOTES<\/a>
\n<\/strong>Wednesday 17 July 2002, at 7:30pm
\nLondon The Photographers’ Gallery<\/p>\n