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The Film-Makers' Cooperative c/o The Clocktower Gallery 108 Leonard Street, 13 floor New York, NY 10013 USA phone: 212-267-5665 fax: 212-267-5666 e-mail: film6000@aol.com |
Film Catalog: Online Search
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Excavation Genre: Experimental Keywords: Philosophical, Structural ... is one of the more demanding and time-consuming films I have worked on. In spite of its short length, the shooting and editing have occupied as much time as I have spent on films three times longer. This is due to a number of reasons. The film first of all is extremely meticulous. It has been exposed one frame at a time and in most instances each frame has required a separate picture, a change in focus, a different focal length or exposure change. It is a composite of still photographs, both black and white and color, shot over the past three years and live footage shot more recently. In addition, it makes use of a collage I designed 5 inches by 8 feet and animated horizontally. EXCAVATION makes use of in-camera A and B roll editing. One frame is exposed, the following black out, another exposed and so on and so forth. I originally planned the film to be edited totally in the camera, but once into it, I began to realize I was playing a very complicated game of chess and decided that much post-camera editing would be necessary. It was next to impossible to realize beforehand the multiplicity of effects that would develop. EXCAVATION is evocative at numerous levels. It is about the past and the present. It is a primordial/contemporary synthesis of images and sensitivities. I recall as a student at the Art Institute of Chicago viewing Willem de Koonings' 'Excavation' almost daily for three years and being terribly impressed by it. To that extent I think my film is abstract expressionist. At a personal level the film deals in an archaeological way with the exploitation of techniques and ideas that have accumulated over the past five years but have been without expression for one reason or another. It attempts to synthesize then numerous thought fragments in a brief, coherent and dynamic way. Rental: $20.00 |
Matrix Genre: Experimental Keywords: Cameraless MATRIX is a flicker film which utilizes 81 still photographs of my wife's head. It is a film dependent upon variation of intense light changes by calculated combinations of black and white frame alternations with exposure changes. Throughout, the light intensity rises and falls as the head rotates in varying directions within a 360 degree frontal area. "An interesting, and surprising less hypnotic than WATERWORK, "flicker" film, most strongly reminiscent of the work of Paul Sharits, in its use of the still photograph as basic image-material. The singular shot/image is of a woman, expressionless, white face/black dress, head and shoulders, looking into camera (still photograph). Variations: woman seen with head turned down at various angles, left and right; with head and neck at various angles up and down. These photographs "animated" in one section, by rapid cutting, to parody spatial "articulation" as used in movie-convention, by means of the off-screen "look." Time-composition via interruptive flash-frames of white (mostly) and black frames, in various rhythmic patterns, coupled with overexposure -- working for me as time-composition in some moments, not in others. The overall time-form not found, but an energetic search, which I do hope will continue, and continue." -- John Schofill Rental: $20.00 |
Metonic Cycles Genre: Experimental Keywords: Philosophical, Structural ... is the most esoteric film I have made. It moves in a calculated, almost mathematical way. It is without any kind of special effect. With the exception of a type of rhythm that is established, its evocation is dependent upon the content of each image and how the images relate to each other relative to their position in time and space. The film is divided into five distinct sections. The first, third and fifth are all 100 foot takes, while the second and fourth are made up of numerous images which belong to more of a general content. The observer, because he/she is viewing the film within a concise period of time, is forced to relate disparate images. In this respect, the content is somewhat surrealistic although I believe its primary effect is one of extra-objectivity. A Metonic cycle is a period of roughly 19 years, at the end of which the phases of the moon recur in the same order and on the same days as in the preceding cycle. It was discovered by Meton, an Athenian astronomer of the fifth century B. C. I am particularly intrigued by this type of measurement and also by the fact that the system was devised so long ago. While there is no over connection between this and the film, the elements of mystery, history and the passing of time implicit in my view of Meton, his position in time and his discovery constitute my primary motivations for making the film. METONIC CYCLES raises many types of questions. They are questions which deal with philosophy and perception. While the questions are not answered, the observer, if on the proper wavelength, can develop an ambivalence, that is, a feeling that is a mixture of comprehension and lack-of-comprehension. The resulting point-of-view can be one of acceptance, e. g., that while the images have an unreal appearance, this is the way things really are. Rental: $20.00 |
Waterwork Genre: Experimental Keywords: Environment & Nature, Films about Film, Media, Structural WATERWORK was designed to show that the motion picture is ideally suited to depicting a view of nature, unaltered by special effects cinematography, that is not readily perceivable to the human eye. The film states in a simple way that in addition to camera manipulation (in this case moving the zoom lens) our view of natural forms can be altered by direct observation and by observation over a relatively long period of time. It also points out that while our perception changes, our concept of being located in a normal way in time and space is also affected to the extent we are no longer sure what constitutes up, down and sideways. Nor are we aware precisely where we are with regard to distance. "I was very impressed with WATERWORK. Conceptually and formally, its inventions mark it as an important work in the Structuralist tradition and one, had it been made in New York by a better-known film artist, which would have gained much critical attention. WATERWORK joins that tradition of monomorphic structuralist visions (c. f. WAVELENGTH, SERENE VELOCITY) based on the continuous zoom as a means of transforming outer appearances into inner experience. It's a gem of a film, one which lingers in the mind like the echo of a memory." -- Standish Lawder "A single shot (slow zoom) gradually magnifying rapidly-moving blue/white water pattern (rushing river). A sensitive and subtle film for visual contemplation, which inevitably reminds one both of how seldom we see ordinary 'simple' reality; but moreover, how wonderfully transformative is the medium of cinema, to render this reality in a new, optically dazzling, pattern. A hypnotic experience, for the cinema/willing, to drown within -- and therein the danger: an art must keep the recipient alive and awake." -- John Schofill. Rental: $20.00 |
 Rama Genre: Experimental Keywords: Dance, Landscape & Architecture 16 minutes of beautiful sound.. color.. dance.. ocean.. forest.. wild life. .. a video you will view time after time. The poetry and 'space music' will haunt you and memorable images take you to another plane of imagination. Rama video is a beautiful sensual cine poem about a mythological sea goddess, born to spend just one day on earth. She learns to use every sense.. to see.. to hear.. to touch.. to smell.. and to taste.. and to enjoy each to its fullest. She begins to experience emotion.. friendships with her companions in nature.. the sea creatures.. wood creatures.. flowers and birds. Her experiences introduce her to life, love, fear, and death. These experiences are complimented by eight original poems by Sugar Cain. The poems.. "Eternal".. "Sun God".. "The Whale and the Ostrich".. "Light".. "Night Bird".. "Twins".. "Hermit".. and "To Rama with Love". The 'space music' uses harp, bassoon, oboe, and electronics.. described by the press as "a tasteful cinematic tone poem". Ted Nemeth, world renowned camera man created a new color photography technique of filters to get the poetic pastel water-color softness needed to tell the classic story of "RAMA". Mr. Nemeth was nominated for academy awards.. won first prizes at Brussells.. Oberhausen.. and Venice Film Festivals.. worked for years on special effects for Radio City Music Hall in New York City awarded and recognized by museums throughout the world. His black and white "Finnegans Wake" was acclaimed a masterpiece. "The ideas for 'RAMA' emanated from a philosophy of life that had to be communicated" explains Sugar Cain. .. "First came the mood or essence.. then the story". She wished to carry the viewer into the remembered simplicity of being alive.. as.. is a child when he if first observing life around him. The super sensuality of one in tune with nature is brought to the audience from all sides. The celestial music.. the rhythmic iambic poetry.. the patterns of movement and color.. the new technique of color 'mood' photography.. all are deliberately designed to transport the mind into a sea of universal thought. The sea nymph lives with every breath in total dedication of every cell.. one day on earth to experience all. The movement is dance-pantomime choreographed as 'stylized naturalism'. The nymph moves, touches, even listens as if a creature both mortal and divine. We are reminded of the goddess Psyche. While 'RAMA' is not based on any mythological tale, because of approach and subject matter, we feel as if we are watching a Greek or Roman Classic. review by Tayler Rental: $20.00 |
Autumn Leaves Genre: Experimental Keywords: Hand-processed The splendor and pleasures of Autumn are the focus of this richly textured and brilliantly colored paper emulsion film. The sound is a recording of the filmmaker ripping, rustling and tearing various kinds of paper. These sounds have been synthesized and musically arranged to echo the imaging of the synthesis paper. A reel of paper and fallen leaves unwinds amid calls of birds and the laughter of delighted children. "Donna Cameron's work crosses the boundaries of film and painting. Her paper emulsion films are made via a process closer to assemblage than photography and draw attention to the sensuous properties of the celluloid medium." -- Richard Herskowitz, Newsletter of the Herbert F. Johnson Museum of Art, Ithaca, NY "Donna Cameron is a diehard New Yorker whose art mirrors that city's pulse." -- Bill Stamets, Chicago Sun-Times "Brooklyn native Donna Cameron's films are warm, humorous and well crafted. ... The remarkable thing about her [work] is her sensitivity to the rapid flow of textures. ... Cameron's technique has evolved into a highly sculptural motion picture painting." -- Helen Knode, LA Weekly Rental: $30.00 |
Canvas Genre: Experimental Keywords: Hand-processed CANVAS is an enclosure, as is any body of painting. It engages the act of painting: movement, gesture, pigment, orientation, space and the act of filming. The frames are the accruence of pigment, oils, dyes, gesso, applied with brushes, knives and hands to the surface. The surface, or emulsion, is either my own paper emulsion or commercial Kodak emulsion and has been treated to represent open-weave linen. To my sensibility, the screen, either film or video, or the canvas, are synonymous - they are the medium through which the image passes. Rental: $75.00 |
End Genre: Experimental Keywords: Hand-processed, Music A film composed of an unused end of NEW MOON and printed to work visually with a segment of J. S. Bach's Suite in G Minor for Lute. Rental: $20.00 |
Fauve Genre: Experimental Keywords: Hand-processed FAUVE is a paper film made by a unique paper process which I invented and have employed here as a monochromatic study of rhythm and mood and the physics of light waves leaving a source - one sees the red, or longest waves, first, the blue, or shortest waves, last, and in my film, one's left in the UV light world of peripheral vision. The original score by Peter Wetzler adds to the textural, tactile, visual experience of FAUVE. Rental: $25.00 |
Live Reel I - War Paths Thru Turquoise & Silver Genre: Experimental Keywords: Cameraless 5 Silent Films in Cinematic Paper Emulsion Five films on one reel, each separated by 3 seconds of turquoise leader Films may be rented separately by advance arrangement with The Film-makers' Coop. 1. BROKN BRIDGE 3 min, 2005 2. LIEDER 3.5 min, 1996, 35mm showm on 16mm 3. WORLD TRADE ALPHABET 2.5 min, 2000, 35mmm shown on 16mm 4. PETERBOROUGH FOREST 2.5 min, 2001, 35mm shown on 16mm 5. JAZZ STUDY 2.5 min, 2001, 35mm shown on 16mm All films employ a cinematic paper emulsion technique developed by Cameron since 1974 and are handmade, original works. The reel in its entirety premiered at the Film-makers' Coop benefit show, September 2005, with music accompaniment by Mark Stewart and David Cossin of Bang on A Can. WORLD TRADE ALPHABET "Materials: Oil, Charcoal, Ink on Paper Emulsion, on 35mm film ...Theme: A Visual Meditation on the evolution of the alphabet which we use, it's origins in ancient Phoenicia, and the fact that it was invented as a shorthand from 360+ character cuneiform to better the efficiency of communication in ancient international world trade. Process: Film begins with primitive carving into handmade paper emulsion of ancient cuneiform glyphs, evolves into painting and drawing of glyphs, them floating type, using digital print-out of helvetica type and concludes with multi-material words: World Trade Alphabet." -- Canyon Cinema catalog Rental: $75.00 |
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