Collective:Unconscious
Every 4th Monday at 7:30pm
279 Church Street, New York
Tel. 212-254-5277
Each month the Film-Makers' Coop will bring you films curated by its distinguished Board of Directors, selecting works from their 5,000+ film and new media collection of premiere avant-garde filmmakers from around the world.
4/28/08 3/24/08 2/25/08 8/27/07 7/23/07 3/26/07 2/26/07 1/22/07 11/27/06 10/23/06 9/25/06 8/28/06 7/24/06 6/26/06 5/22/06 4/24/06 3/27/06
Deep In The Vault: Documentaries from the NY Film-Makers' Coop
Monday April 28, 2008 at 7:30 pm
Curated by Ariella J. Ben-Dov
$5.00 Admission
Curator Ariella Ben-Dov mined the Film-Makers' Coop vault to create this special evening of rarely seen documentary films. Filmmaker Tony Conrad will be in attendance.
The Films:
Deedee Halleck
Children Make Movies (1961) 16mm, color & b/w, sound, 9 min
Tonight is a rare chance to see video maven Deedee Halleck's first film made with children from
the Lillian Wald Settlement in Lower Manhattan.
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Pamela Bennett
Diary (1989) 16mm, B/W, 2:25 min
A short rumination about a woman and her dream.
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Joann Elam
Lie Back And Enjoy It (1982) 16mm, black and white, sound, 7.5 min
"JoAnn Elam's LIE BACK AND ENJOY IT is an absorbing eight-minute dialectical film about the politics of
representation. More specifically, it examines the politics of filmic representation of women under
patriarchy .... An undergraduate male student paid it a true compliment in declaring that he can no
longer look at a woman in a film without thinking about the consequences of the filmmaker's use of her
as a person and as a spectacle .... The film is endowed with remarkable structural and rhetorical
lucidity .... Its image track consists of technologically manipulated images of women, and some printed
titles. Its soundtrack consists of a dialogue between a Man (a filmmaker) and a Woman (of whom he's
going to make a film) .... Everyone who watches movies with women in them ought to see it."
-- Claudia Gorbman, Jump Cut
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Silvianna Goldsmith (FILMMAKER IN PERSON)
Nightclub, Memories of Havana in Queens (1975) 16mm, color & b/w, sound, 5.5 min
Three Latin Dancers in a nightclub in Queens make up, and do a samba, a merengue and an afro-cuban dance.
Filmed both tongue-in-cheek with humor and satire at the kitsch aspects, and also seriously as a tribute
to the culture's ancient sensuality. "Another art form (dance) was displayed in Silvianna Goldsmith's
witty NIGHTCLUB." -- Daryl Chin
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Tessa Hughes-Freeland
Baby Doll (1982) 16mm, black and white, sound, 5 min
A docu-portrait of two GoGo dancers, revealing their experience of how it is on their side of the
dollars. --T. H.-F.
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Sheila Paige
Testing, Testing, How Do You Do? (1969) 16mm, color, sound, 4 min
"filmed at the 1969 Miss America Pageant held at Atlantic City, Testing contains an interview with
Miss Virginia footage of the pageant rehearsal and of the Women's Liberation demonstration taking place
outside Convention Hall" S.P.
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Deedee Halleck
Jaraslawa (1975) 16mm, color, sound, 9 min
Jaraslawa Tkach, an old Ukrainian woman bakes bread and piroski as she talks about her recipes and
her life as an immigrant. This lyrical experimental film has a sound track by the Penny Whistlers.
Jaraslawa won a Cine Golden Eagle when it was first released.
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Marie Losier (FILMMAKER IN PERSON)
Tony Conrad: DreaMinimalist (2008), Mini DV, Color, 25 min, NYC Premiere
Excerpts from latest in Marie Losier's ongoing series of film portraits of
avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman),
DreaMinimalist offers an insightful and hilarious encounter with Conrad as
he sings, dances and remembers his youth and his association with Jack
Smith.
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Early Films by Leslie Thornton
Monday March 24, 2008 at 7:30 pm
Curated by Ghen Zando-Dennis
$5.00 Admission
The films of Leslie Thornton have helped to define the very nature of contemporary avant-garde practice. Her work has been consistently in the forefront of that tendency which takes a theoretical and critical analysis of the cinematic image as a central concern, while conducting a painstakingly detailed interrogation of the texture of a highly-mediated everyday life. Thornton's films directly engage with issues in feminism, colonialist/post-colonialist studies, semiotic theory and cultural analysis. They demonstrate a rich and provocative attention to relations between sound and image and the syntactical potential of the film form. Experimenting with multi-media, specifially the relation between film, video, theater, and still photography, Thornton explores the limits of representation and the myriad discursive relations of spectators to images.
-Mary Ann Doane, Senses of Cinema
The Films:
Jennifer, Where are You? (1981) 16mm, color, sound, 10 min
Shows a child age ten years in one shot, a sort of sound version of the Kuleshov experiment. -- L.T.
"The film is a questioning of authority and authorship, of the power implicit in
authority, of the balance between her fear and her will to disrupt, of the balance
between her fear and his inability to understand her (lack of an) answer ..." -- Su Friedrich, Downtown Review, 1981.
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X-Tracts (1975) 16mm, black and white, sound, 9 min
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She Had He So He Do He To Her (1987) 16mm, color, sound, 5 min
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Adynata (1983) 16mm, color, sound, 30 min
ADYNATA offers a vulgar tour of the Other, in this case Imperial China?; Woman?; Madness?;
Japan?; Murder?; Eroticism? -- L.T. "The colors are extremely vivid and work to amplify what
at first glance appears to be an unruly fetishism of the exotic object. There is too much for
the eye - the film seemingly capitulates to the seductive force of visual pleasure. But this
richness of the image is somewhat deceptive. It is itself a second-order signifier of an
exoticism associated with the discourse of Orientalism which is both quoted and criticized
by the film. And, for Thornton, the discourse of Orientalism is precisely a discourse of
excess, of hyperbole, of the absurd. In ADYNATA she investigates the mise-en-scene of
Orientalism - the conglomeration of sounds and images which connote the Orient for a Western
viewer/auditor." -- Mary Ann Doane, Millenium Film Journal, 1987.
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Oh China Oh (1983) 16mm, black and white, sound, 3 min
A post-script to ADYNATA, even more incorrect. -- L.T.
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The Inventing Space Of Cinema
Monday February 25, 2008 at 7:30 pm
Curated by Caroline Koebel
$5.00 Admission
Maya Deren's first film experiment Meshes of the Afternoon (1943) ignited the American avant-garde film movement at mid-century, and for decades now has been screened continuously in cinema studies classrooms. At one point the film's protagonist (played by Deren) strides in a space that only cinema makes possible: close-ups show the woman's alternating feet against sand, grass, pavement, and rug, creating the effect that she actually exists simultaneously in these ordinarily disjointed environs. Of this sequence, Deren has written, It was like a crack letting the light of another world gleam through. I kept saying to myself, The walls of this room are solid except right there There's a door...I've got to get it open because through there I can go to someplace instead of leaving here by the same way that I came in.
In a like-spirited displacement, The Inventing Space of Cinema re-posits Meshes of the Afternoon within a frame of works including live action, animation, and re-purposed footage that use experimental means and investigatory techniques to pose questions about objective and subjective space, gendered spatiality, and filmic architectonics. The frame is intended to open a necessary entrance to Meshes, one enabling the pre-canon film's flux and indeterminacy to sneak past into the present.
The Films:
Lana Lin
Through the Door (1992) 16mm, color, sound, 3 min
A mock travel film composed of archival footage that comments on narrative
conventions. A woman is heard, but not seen. Visual and aural narratives
unfold independently, reinforcing and countering each other.
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Barbara Hammer & Barbara Klutinis
Pools (1981) 16mm, color and b&w, sound, 6 min
"POOLS is a pictorially and technically impressive sampling of spectacular
swimming pools at W.R. Hearst's San Simeon and manages to validate itself
from within, or at least within its own frame of identification." -- Richard
T. Jameson
My aesthetics in co-making POOLS with Barbara Klutinis was to bring an
experiential and physiological sense of the body to the members of the
audience watching the film in terms of the locations, the swimming pools
designed by the first woman architect to graduate from the School of Beaux
Arts in Paris, Julia Morgan. I want the viewers to have the experience of
swimming in architectural space for two reasons. First and foremost, I want
to activate my audience, I want them to come alive, not be passive through
watching cinema, and then to extend that "aliveness" into their lives
through conscious expansive living and responsible politics. The second
reason I swam and filmed in those pools was to break a taboo. No visitors
are allowed to swim in these gorgeous examples of Morgan's work. At least by
getting permission to swim there myself with an underwater camera I could
extend through vision this extraordinary physical experience.
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Janie Geiser
Terrace 49 (2004) 16mm, color, sound, 5 1/2min
Images of impending disaster- slamming doors, a truck careening down a hill,
and a frayed, almost snapping, elevator rope collide with the repeated image
of a woman - body, cycling toward ephemerality as the woman disappears into
the texture of the film itself. In my recent films, I have been exploring
the possibilities found in merging video texture with film, creating a lush,
disorienting, ambiguous film space, and an atmosphere a temporal suspension.
In Terrace 49, I further break up this space, dividing the film frame into
shards, as fractured as memory and as fragile as glass.
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Leslie Thornton
Jennifer, Where are You? (1981) 16mm, color, sound, 10 min
Young girls use lipstick over-liberally and thus block out unwanted noises.
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Joyce Wieland
1933 (1967) 16mm, color, sound, 4 min
"The repeated images are such that they appear to be different every time;
to be expanding. 1933 has a machine-mechanical-doll-rhythmic-like
structure." -- Robert Cowan, Take One
"1933. The year? The number? The title? Was it (the film) made then? It's a
memory! (i.e., a Film). No, it's many memories. It's so sad and funny: the
departed, departing people, cars, street! It hurries, it's gone, it's back!
It's the only glimpse we have but we can have it again. The film (of 1933?)
was made in 1967. You find out, if you didn't already know, how naming tints
pure vision." -- Michael Snow
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Storm De Hirsch
Peyote Queen (1965) 16mm, color, sound, 9 min
A further exploration into the color of ritual, the color of thought; a
journey through the underworld of sensory derangement.
"A very beautiful work! The abstractions drawn directly on film are like the
paintings of Miro moving at full speed to the rhythm of an African beat." --
D. Noguez, La Nouvelle Revue Francaise
"Among my favorites ... beauty and excitement." -- Jonas Mekas, The Village
Voice
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Babette Mangolte
There? Where? (1979) 16mm, color, sound, 8-3/4 min
An essay on the displacement and disjuncture of images of southern
California and the voice-over. The film is a point of interrogation. Where
are the voices, here or over there? And these faces, near or far? Are they a
commentary on the dialogue, or vice-versa? Illustrating the ambivalence of
perception without referent, the film is also a documentary on southern
California.
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Marie Menken
Moonplay (1962) 16mm, b&w, sound, 5 min
Sound by Teiji Ito.
A lunar fantasy in animated stop-motion.
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Marjorie Keller
Six Windows (1979) 16mm, color, sound, 6-1/2 min
A pan and a dissolve make a window of a wall on film. A portrait of the
filmmaker in a luminous space, synthetically rendered via positive and
negative overlays.
... I lived in some rooms by the sea and watched the inside and the view as
well as the window panes that divided and joined them. I was often lost in
thought. The birds would come and make a racket, reminding me I shared that
space and sky with them. The film is a moody record of that place and my
peace of mind.
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Maya Deren
Meshes of the Afternoon (1943) 16mm, b&w, sound, 14 min
This film is concerned with the inner realities of an individual and with
the way in which the sub-conscious will develop, interpret and elaborate an
apparently simple and casual occurrence into a critical emotional
experience. It is culminated by a double-ending in which it would seem that
the imagined achieved, for the protagonist, such force that it became
reality. Using cinematic techniques to achieve dislocations of inanimate
objects, unexpected simultaneities, etc., this film establishes a reality
which, although somewhat based on dramatic logic, can exist only on film.
(Note that this description comes not from the Coop site, but from a 1945
brochure written by Deren republished in Essential Deren).
Avant Gardening
Monday August 27 at 7:30 pm
Curated by Sandra Racek
$5.00 Admission
Avant-Gardening is an installment of the collaborative monthly program Jewels and Gems sponsored by the FMC and Collective: Unconscious. This show is about relating post-modern attitudes toward the environment and a sense of place from the absurd to the sublime. The representation of nature and landscape through out these films is reflective of the attitudes that have manifest in contemporary society and inform the actions or inactions humans take toward nature. Integral to how we treat our environment are our attitudes toward it. Does the subjective mind delight in physical space in nature? Is a sense of place valuable? Or does apathy let it fall into neglect? Just as 19th Century painter’s attempted to harness the powerful wonder of nature on canvas, many post-modern avant-garde film-makers, who make some of the most evocative and brilliant representations, attempt to capture nature like moths in a jar.
The Films:
Marie Menken
Glimpse of the Garden (1957) 16mm, color, sound, 5 min
Soundtrack: birdsong
"A lyric, tender, intensely subjective exploration of a flower garden, with extreme magnification, flashing color harmonies." -- Cinema 16
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Mark Street
Winterwheat (1989) 16mm, color, sound, 8 min
WINTERWHEAT was made by bleaching, scratching and painting directly on the emulsion of an educational film about the farming cycle. I wanted to manipulate the found footage to create lulling, hypnotic visuals while also suggesting an apocalyptic narrative. Though the images can be viewed purely for their graphic idiosyncrasy, a quiet but persistent theme of destruction winds its way through the film. "Street plays the images in a variety of ways, stating, varying and altering his theme with a symphonic sense of invention." -- Calvin Ahlgren, San Francisco Chronicle Awards
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Jennifer Reeves
Configuration 20 (1994) 16mm, color, sound, 12 min
Primordial sounds and organic creatures evoke the moment when life began.
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Jennifer MacMillan
The Garden Dissolves Into Air (2006) DVD NTSC, color, sound, 6 min
Super 8 to 16mm to mini-DV. A cinematic exploration through the Brooklyn Botanic Garden, using a super-8 camera and the simple power of observation; a document of flowers, butterflies, dragonflies, and goldfish has been captured and analyzed through the optical printer and FinalCut Pro. A true film/video hybrid of science and imagination, this digitally manipulated 16mm film in some small way approaches the marsh flowers of Odilon Redon, where the marvels of nature become part of the dream world! - JM
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Kiki Algeier
Dear Joe P. Bear (2005) DVD NTSC, color, sound, 5 min
This film is a response to a letter written by Matt McCormick entitled “ Sincerely Joe P. Bear.” It is an exploration of alternative modes of editing. By using a manual bolex camera combined with found footage of a polar bear hunt the film-maker gives eloquent voice to recurring dream like memories. Written and Directed by Kiki Allgeier Co-Directed by Nikihil Melnechuk Director of Photography Jeff Silva Starring: Kiki Allgeier Sophie Landon and Robert Michaels
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Flavia Souza
Carnavalare (2005?) DVD NTSC, color, sound, 6 min
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Jeroen Eisinga
Canoe (RED) (1993) 16mm, 4 min
A young man sits in a red canoe in a ditch in a Dutch meadow. He hasn't got a paddle and the canoe isn't moving - the ditch is so narrow that it would be impossible to move anyway. The yound man, the artist Jeroen Eisinga himself, has an unexpectant look, unfocussed and unprotesting, almost resigned. Every now and again he glances casually over his shoulder, or makes the canoe wobble slightly.
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Lynne Sachs
WHICH WAY IS EAST (1994) 16mm, color, sound, 33 min
"A frog that sits at the bottom of a well thinks that the whole sky is only as big as the lid of a pot." When two American sisters travel north from Ho Chi Minh City to Hanoi, conversations with Vietnamese strangers and friends reveal to them the flip side of a shared history. Lynne and Dana Sachs' travel diary of their trip to Vietnam is a collection of tourism, city life, culture clash, and historic inquiry that's put together with the warmth of a quilt. "Which Way Is East" starts as a road trip and flowers into a political discourse. It combines Vietnamese parables, history and memories of the people the sisters met, as well as their own childhood memories of the war on TV. (excerpted from article in The Independent by Susan Gerhard) “The sound track is layered with the cacophony of bustling city streets, the chirps of cicadas and gentle rustles of trees in the countryside, and the visuals, devoid of travelogue clichés, are a collage of pictorial snippets taken from unusual vantage points.... What comes through is such a strong sense of the place you can almost smell it.” Ted Shen, The Chicago Reader
Music in Motion
Monday July 23 at 7:30 pm
Curated by Cary Keyahan
$5.00 Admission
"Music is the shorthand of emotion" - Tolstoy
On this summer night, we celebrate the marriage of music and visuals with an eclectic compilation of tuneful films. Spanning everything from the LSD-addled, flower power psychedelia of the 60's rock scene to the fist-pumping, headbanging angst of the 70's punk revolution, prepare for a head-trip like no other. Tree-huggers and moshers welcome.
Jud Yalkut
China Cat Sunflower
A Bootleg Film Production. With the Grateful Dead.
As though one gradually becomes aware of the music of the universe, the Dead break into consciousness as their images merge with the oneness of light, becoming discrete momentarily, then dancing away to the cosmic rhythm that permeates reality. "Call Jud Yalkut an experimental filmmaker. He does not deal with story-telling film, but with the invisible-ideas and emotions. Nor does he structure them in a conventional manner. His aim is to disorganize your traditional methods of perception, and then to provide you with some new alternatives." -- New Times Syracuse, NY
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Thom Andersen
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A documentary about rock 'n' roll. Making, buying, selling. Radio, jukebox, scoptione, pinball, poolhall. Canned Heat, City Lights, Seeds of Time, LA Tymes. Llyn Foulkes, Charlie Watts, Chris & Craig, Duke of Earl. Seeburg, Wurlitzer. Standing, walking, jumping, singing, dancing, gesturing, surfing…
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Heather McAdams
Black Coffee
Shots of McAdams crawling the walls merge seamlessly with old coffee commercials. Set to the sultry Pat Suzuki song, "Black Coffee."
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Ross McLaren
Crash'n'Burn
"Toronto's first punk rock club is the subject of this innovative documentary, featuring performances by The Dead Boys, Teenage Head and the Diodes. The rock magazine Creem praised the film for 'doing everything in its flickering power to self-destruct,' and commented that anyone who 'thought Canadians bored their beef to death ate at a different delicatessen." -- The Funnel Film Theatre Distribution Catalog
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David Brooks
Letter to D.H. in Paris
The film springs from the night through the dawn to the daystar, following the adventures of the mind on the way. Bucolic scenes hypnotize the viewer as the sound track shifts from ambient to folk.
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Matt Hoffman
Meter Maiden
Co-makers: Lee Brozgold and Alix Schneeberg.
Op, pop, and the Beatles meet the New York City traffic bureau.
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Robert Cowan
Jangleflex
An abstract, rhythmically cut film with various images of women, some of whom are dancers. The sound track, which is semi-electronic, is composed and played by Cowan.
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M. Henry Jones
Soul City
"In Henry Jones' words, this film is intended to, 'Visually counterpoint the music of a subculture.' Punk rock group, Fleshtones, perform the song 'Soul City,' as tiny black & white cut-out figures, (with hand-tinted flesh tones), against a flickering background of brilliant color. In Soul City, Jones 'recycled' the same basic movements of his subjects by reconstructing totally new motions from the same severely limited amount of footage." -- Bikini Girl Magazine
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Staff Picks
Monday March 26 at 7:30 pm
Curated by Alisa, Cara, Jeff, Jeremy, Seth and MM Serra
$5.00 Admission
Once every 1000 years, the doors of the Film Coop staff dungeon are unlocked, unleashing the most frighteningly wonderful experimental film reccomendations upon the world. This program is a preview of the mind-bending carnage to come.
Beverly & Tony Conrad
Straight and Narrow (Jeffs Pick)
Straight and Narrow is a study in subjective color and visual rhythm. Although it is printed on black and white film, the hypnotic pacing of the images will cause viewers to experience a programmed gamut of hallucinatory color effects. Straight And Narrow uses the flicker phenomenonÉnot as an end in itself, but as an effectuator of other related phenomena. In this film the colors which are so illusory in The Flicker are visible and under the programmed control of the filmmaker. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.
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Storm De Hirsh
Peyote Queen (Caras Pick)
A further exploration into the color of ritual, the color of thought; a journey through the underworld of sensory derangement.
"A very beautiful work! The abstractions drawn directly on film are like the paintings of Miró moving at full speed to the rhythm of an African beat." -- D. Noguez, La Nouvelle Revue Française
"Among my favorites ... beauty and excitement." -- Jonas Mekas, The Village Voice
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Rose Lowder
Retour dun Repere (Jeremys Pick)
In this film procedures similar to those used in the two previously mentioned works are developed in a particular way. While the filmic operations are structured in relation to a limited space (a branch over a 19th Century duck pond), poetic measures pertaining to rhythm taken from literary rhetorics are introduced as part of the organizational orientation. Thus the film rests on a visual transposition of a 'pantoun,' a verse form which characteristically transforms itself gradually and continously in a precise manner. --R.L.
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Rosalind Schneider
Parallax (Seths Pick)
enhanced by the technical device of using 3 screens at once with the same image on each, but projected a-synchronously. The use of color, black and white, and the re-elaboration of an image
fills the eyes
brings us unconsciously to the most intimately self insightful level of intuitiveness. Pictorially similar to an enormous fresco, PARALLAX moves its characters through a dance without time and perhaps without end
Anna Canepa
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David Lebrun
Tanka (Alisas Pick)
Tanka means, literally, a thing rolled up. The film, photographed from Tibetan scroll paintings of the sixteenth to nineteenth centuries, is a cyclical vision of ancient gods and demons, an animated journey through the image world of the Tibetan Book of the Dead.
"With his dazzling TANKA David Lebrun has filmed a series of Tibetan paintings of mythological subjects and then programmed his footage into an optical printer to create the illusion of animation. The dazzling, vibrantly colored result is a series of dancing gods, wild revels, raging fires and sea battles between monsters." -- Kevin Thomas, The Los Angeles Times
"An extraordinary film." -- Melinda Wortz, Art News
"TANKA is brilliantly powered by the insight that Tibetan religious paintings are intended to be perceived not as in repose but as in constant movement. The water and flowers seem to dip and sway, the birds to fly and the god to move his arms sinuously." -- Edgar Daniel, American Film
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Marie Losier
The Ontological Cowboy (Serras Pick)
"The theater is about sex." At least according to Richard Foreman, the father of the Ontological Hysterical Theater. The Ontological Cowboy documents Foreman's invocation of the "manifest destiny" of the avant-garde theater, King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupation. If "the cast and crew suffer alike," it's all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife. --M.L.
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Dual Space
Monday January 22 at 7:30 pm
Curated by Lili White & Cara Weiner
$5.00 Admission
standing on the corner my mind a million miles away old blues song
This show circumnavigates around ideas about ourselves,the arts and architecture. We travel between 2 intersecting but distinct places: the material body exists in time and place while emotion mind soul occupies another space. One can be seen and the other is often perceived by only one person in an instance.
Lucy Goldstein
THAT MANY LONG FOR BUT NONE ATTAIN
live performance with video projection; TRT: 6 minutes looped; 2006-07
Lucy Goldstein; live performance with video projection; Explores the over-idealization of the female body in classical art and the ingrained cultural discomfort with woman as both performer/object and creator
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M M Serra
ART PARADE
DVD video; TRT: 6 minutes; 2007
Inspired by the Deitch Project's Art Parade and the exquisite Karen Black girls this film gazes at gender and questions beauty
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Jeanelle Marie
{:::UN:R:EE:L:SP:ACE::T:IME:::}
16MM shown in DVD; TRT: 2:52 minutes
This film investigates an individual's estrangement from time. Stop-motion animation and editing devices reference Melies magical stagy qualities and the affect of Maya Derens films.
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Cara Weiner
AN ABSTRACT WAY OF LIFE
DVD video; TRT: 8 minutes; 2007
An experimental documentary featuring four abstract artists exploring and exposing their creative expression.
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Lili Chin
PORTRAIT of SHANGHAI
HD w. Stereo sound; TRT: 4:50 minutes; 2005
Nostalgia and anxiety inform this personal observation of a rapidly urbanizing city in the 21st Century.
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Lili White
NY(see)
TRT: 10 minute excerpt; DVD video; 2005
Home-movie / city-symphony inter-sect with immigrant artists, Mara Wave, John Spinks, Kim Su Theiler, and Whites performance-action.
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Jeremy Menzies
WHAT DO YOU DO IN SAN FRANCISCO?
silent; 16MM duel projection; TRT: 3minutes; 2005
A nocturnal exploration of simultaneous spaces and times.
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Bosko Blagojevic
7268
DVD video; TRT: minutes; 2007
A bicycle ride against a grainy sunset; the obsolescing and renewal of imaging techniques
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Doris & Cara Weiner
Edited LIVING WALL
DVD video TRT: 2 minutes; 2007
A remix of a living wall installation piece retimed and visually extrapolated.
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Donna Cameron
BOKN BRIDGE
16MM of cinematic paper emulsion; TRT: 5 minutes; 2005
Suppose Hurricane Katrina hit NYC instead of the Gulf Coast? If only, like the emulsion on the cyan field in this film, wed survive- floating on a memory of our tears.
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Kim Su Theiler
SPY vs. SPY: JC-Beijing
DVD video; TRTime: 10:15 minutes 2006
A la "SPY vs SPY", this piece explores how artists respond to their environment/s, featuring Sou Jia Cun, an artist community demolished by the Chinese government to accommodate the arrival of the 2008 Olympics.
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Lili White
SHE DREAMS THE WORLD
DVD of re-worked Super-8; TRT: 6 minutes; 198?-2006;
She ushers in a Dionysian figure and disembodyment reunites to create a new world order.
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Doris Weiner
LIVING WALLS
installation with projected video; 3 minutes; 2007
Projected light and sound onto actual painted sculptural installation artwork.
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Etceteras of the Carrerond
Monday January 22 at 7:30 pm
Curated by Amy Granat
$5.00 Admission
LOONY LAND!
Monday November 27 at 7:30 pm
Curated by Marie Losier
$5.00 Admission
PROGRAM
Les Blank
Werner Herzog Eats His Shoe
(1980) 16mm, color, sound, 23 min.
In 1979, Les Blank took a brief detour from his filmic path through traditional American music to film German filmmaker Werner Herzog honoring a vow he claims he made to Errol Morris, A Berkeley student, that he (Herzog) would eat his shoe if Morris ever got off his butt and actually made one of his films he was forever talking about. Stung to action, Morris directed GATES OF HEAVEN, a highly acclaimed film about a pet cemetery -- and Herzog, true to his word, returned to Berkeley toconsume one of his desert boots in front of a large audience at the UC Theater. The film reveals an obsessive, self destructive almost superhuman dimension to Herzog that people must have the guts to attempt what they dream of. And Herzog adds comment on the value of cinema and the need for a new grammar of images. Definitely the strangest of Blank's love letters to food, and a major addition to the small shelf of films in filmmaking.
The strength of this definitely unusual little film is Herzog eccentric brilliance which Blank captures as well as he did the singers in DEL MERO CORAZON. -- Rick Chatenever, Santa Cruz Sentinel
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Anja Czioska
Jonas Mekas, Friday 13th October, 1995 N.Y.C
(1995) 16mm, b&w, sound, 6 min.
Jonas, Birgit and Anja make a trip to the Brooklyn Bridge. Taxi driving, be buying, drinking, doing funny things and dancing. It was a nice afternoon.
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Heather McAdams
Luv Sux and Then You Die
(1989) 16mm, color, sound, 5 min.
A scratch film set to music by J.J. Cale.
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Robert Breer
A Man and His Dog Out for Air
(1957) 16mm, b&w, sound, 2 min.
A brilliant and astonishing ballet with unprecedented virtuosity! -- Burch, Film Quarterly
Selected for eight months run with Last Year at Marienbad premiere in New York
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J.J. Murphy
Science Fiction
(1979) 16mm, color, sound, 5 min.
A recycled film that playfully explores the space-time continuum as it applies to narrative structure.
"J.J. Murphy's SCIENCE FICTION, a dazzling five-minute experimental fantasy that at first appears to be a 1950s travelog gone awry, features technical trickery that will impress and bewilder filmgoers and filmmakers." -- Max J. Alvarez, Milwaukee Journal
"The second night's surprise was J.J. Murphy's wonderful SCIENCE FICTION. Made from a high school-level film on the effects of relativity, it was Murphy's insight to manipulate the footage and to add a moment here, delete a moment there." -- Raymond Foery, Downtown Review
Awards: First Prize, Great Lakes Film Festival, 1980; NY Filmmakers' Exposition (tour), 1981; Ann Arbor Film Festival (tour), 1981.
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Martha Colburn
Groscher Lansangriff: Bug Attack
16mm, color, sound, 2 min 30.
A music film made starring the collage version of German musician Felix Kubin.
The film and music are about a new law in germany allowing the police to listen in on your phone calls.
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George Kuchar
Leisure
(1966) 16mm, b&w, sound, 9-1/2 min
A dramatized social commentary with the horrifying impact of a three-hundred ton chunk of margarine.
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TOTAL RUNNING TIME: 70 Min.
However much we seek understanding of the universe we live in, we are perhaps like Alice chasing the Queen of Hearts in our efforts. As we nail down what we consider to be a certainty, so certainty flies away.
AN UNFIXED POINT OF VIEW presents seven short films from the collection of the New York Filmmakers' Cooperative which variously play the terrain between our instincts for the security of certainty and our tentative curiosity for exploring the unknown.
PROGRAM
Lisa DiLillo
Corrections and Clarifications
DVD, 2000, 10:00
This film takes as a starting point the daily corrections made by various newspapers to errors detected in stories they have run. These efforts at fixing factual details float gently to fact-heaven in the context of DiLillo's fluid visual poetry.
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Bradley Rappa
Through Revolving Doors
16mm, 1997, 11:00
There is a man and a woman. At first everything is fine, mundane. Then something terrible has happened. It's not clear what it is and Rappa brings us face to face with our determination to understand, to be able to tell the story.
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Lisa Oppenheim
Lili On Air
DVD, 2000, 11:00
It is Marlene. Or it isn't Marlene. We think we know. We want to believe we know. Marlene doesn't think we know. Whether we shift positions or not, we still want to believe we know.
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Jacob Burckhardt
The Viper
16mm, 1997, 3.5 min
Hard to describe this film without giving away its charm, but it has something in common with a certain Buddhist line of thought that suggests that we are but players in some cosmic game.
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Roberta Friedman and Grahame Weinbren
Father Don't You See?
DVD, 2005, 5:00
From The Erl King (1983-85). A dream / a folk tale. A trusting son / a doubting father. Freud on screen / Goethe on abandoned cars. It's only the wind that rustles in the dry leaves.
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Sarah Pucill
You Be Mother
DVD (orig 16mm), 1990, 7:00
In Surrealist fashion an invocation of deep emotion is confused with the surface. It is a tea party but it is something else.
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Lisa DiLillo
Tongues Don't Have Bones: A Journey Into Burma
DVD, 2001, 30:00
DiLillo's journey into Burma senses both the horror of the military regime and the humanity which remains. An evocative meditation on the complexities of life.
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TOTAL RUNNING TIME: Approx 80 Min.
rhm
Forty years ago, 20 avant-garde filmmakers envisioned a "Week of the Angry Arts". Each artist created a short film in the name of PEACE. Filmmakers such as Stan Vanderbeek, Robert Frank, Storm de Hirsch, Robert Breer, Ken Jacobs, Shirley Clarke, Carolee Schneemann, Jonas Mekas and Larry Jordan were part of this collective outcry against violence.
In a similar spirit, contemporary filmmakers were asked to "get out your cameras and shoot up to three minutes of video, then send it to the Film Coop. Become a part of a CINEMA FOR PEACE by having your work screened on this historical September 25th evening." 26 new works were received from around the world
PROGRAM
Week Of The Angry Arts
For Life, Against The War
16mm, black&white and color, 38 min., 1967
2006 New Works by
Jeffrey Skoller •
Elle Burchill •
Artemis Willis •
Julie Talen •
Sheri Milner •
Ernie Larsen •
Jim Costanzo •
Ken Jacobs •
Barbara Hammer •
Mark Street •
Lynn Kirby •
Jeanne Finley •
John Muse •
Martha Rosler •
Grahame Weinbren •
MM Serra •
Les Leveque •
Cynthia Madansky •
Jeff Silva •
Lili White •
Alfred Guzetti •
Lynne Sachs •
Martha Gorzycki •
Douglas Katelus •
Bosko Blagojevic •
Bradley Eros •
Rohesia Hamilton Metcalfe •
Bill Morrison •
Aylon Ben-Ami •
Kevin Berry •
Cara Weiner
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The program ran for nearly three hours to a packed house – nearly all of whom stayed for the entire program
poster by Lorena Vasquez
Fred Safran
Paradise Now
1968, B&W, 10 min.
A magical trip which considers the possibility of seeing New York City in a
new and different light. You are taken out of the Spirit World and brought
back alive. Come with us on a guided tour through Fun City.
Transformations on a SoHo Street
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Bob Parent 1973, B&W, 20 min.
Shakin' it in Soho, before all the shoppers arrived.
An attempt at extending the documentary film away from traditional
institutional mentality and into a candid, intimate experience and
commentary of the event. The film is titled after an improvisational,
environmental dance event conceived and organized by Ruth Heller Coron and
company, that was celebrated on Prince Street, October 1973.
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Rudy Burckhardt
Dwellings
1975 13 min.
Where Charles Simonds is building strange structures of tiny bricks in the
crumbling walls of New York's Lower Eastside, for his 'Little People,' as
the astonished neighborhood kids look on.
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Jeff Scher
NYC
1976, 3 min.
A little tribute from the master animator.
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Rudy Burckhardt
Default Averted
1975, B&W, 20 min.
When New York was about to go bankrupt, all construction had stopped, and
an architect tried to become a wrecker. The story of a demolition of a large
factory building on 23rd and 6th, while daily business, grimy or funny,
money or no money, goes on as usual al around. In stark B&W, with music by
Thelonius Monk and Edgar Varese.
In spite of the recent trend in artist repellant rents and stock market crashes, the spirit of Kenneth Anger, Jack Smith and Andy Warhol is alive and well and living on the Lower East Side in the form of a group which calls itself the Naked Eye Cinema. Originally a handful of performance artists wishing to document their work for the East Village club circuit, Naked Eye Cinema has successfully managed to expand its community of independent filmmakers as well as provide screenings of old masterpieces (i.e. Richter, Baillie, Anger, etc.) and new work for an ever-increasing audience.
The underground has resurfaced.
It's a question of the age-old coupling of aesthetics and economics. As Kembra Pfahler, one of Naked Eyes off the wall filmmakers, puts it, "My film making technique is not inspired by an intellectual accumulation but by an inspirational availablistic mood method...the availablist movement is based on the theory of making the best use of what is available. And what is available is Super-8 film stock, creativity and communality."
- VOICES AND VISIONS: NAKED EYE CINEMA
by Robert Hilferty, 1986
PROGRAM
Aline Mare/Erotic Psyche
Cassandra:Seething At The Mouth
VHS, color, 7 min., 1985
Revenge of the dirty words with a raging tongue. With Kembra Pfahler & Aline Mare
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Bradley Eros/Erotic Psyche
Hystery
Video, Color, 7 min., 1985
(with Jack Waters & Sharon Gannon)
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Leslie Lowe and Jack Waters
Nocturnes
16mm, 13 min., 1987
Chopin Nocturnes accompany this study in black and white
inspired by Huysmans decadent novel A Rebours
Brad Taylor, Valerie Carris, Peter Cramer, Adrian Saich
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Jack Waters
Siegfried
16mm, 12 min.
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Peter Cramer
Corrective Measures
Super8, 10 min, 1986
Capturing the conflict of fighting violence with violence, terror against terrorism, politics exploiting itself
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Carl George
Whipporwill
Super8, 17 min, 1987
A grand scale oeuvre featuring Washington D.C. as the star. Ethel Merman makes a comeback as Americana Uncle Sam in drag.
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Kembra Pfahler
Cornella, The Story of A Burning Bush
Super8, 10 min, 1985
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AND
Excerpts from Naked Eye Cinema TV
Video, 15 min.
Manhattan Cable Public Access Show featuring interviews with the makers and excerpts from films of Penelope Wehrli, Sarah Schulman, Philli and more.
Program on DVD from original formats as indicated
This evening's program presents a selection rarely screened films from New York's queer underground. Revealing a hidden world of camp, performance and masquerade, these works map a thriving community of avant-garde filmmakers from the earliest years of the Film-Makers' Cooperative
PROGRAM
Edward Owens
Private Imaginings & Narrative Facts
1960s 16mm, color, sound, 9 min.
"A montage of still and moving images, mixing and alternating black people and white people, fantasy and reality, a presidential suite and a mother's kitchen: a sensitive, poetic evocation in the manner of the film-maker's "Remembrance." Brilliantly colored and nostalgic, it comprises a magical transformation of painterly collage and still photographic sensibility into filmic time and space." -- Charles Boltenhouse
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Willard Maas
Orgia
16mm, color, sound, 12 min.
"Orgia" is a sexual orgy symbolizing the decadance of modern society. Maas, who acts in this film, plays the devil while a wild orgy goes on in his living-room. The film is accompanied by the baroque-jazz music of Teiji Ito.
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Piero Heliczer
Dirt
1965, 16mm, color, silent, 12 min.
"Dirt" is a personal and lyrical film. Like many of Heliczer's films, it is in part an extremely elusive visual poem and in part a demented home movie. Heliczer was part of a circle of filmmakers that included Tony Conrad and Andy Warhol. He wrote poetry, made films and organized performances and "expanded cinema" shows that included simultaneous live music, dancing and poetry." -- Juan A. Suarez
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Marie Menken
Bagatelle For Willard Maas
16mm, color, sound by Teiji Ito, 5 min.
BAGATELLE, is an homage to her husband Willard Maas. It is a poetic observation of Versailles. Menken shot the film returning from the Brussels Fair at Versailles and the Louvre.
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Charles Boltenhouse
Dionysius
1963, 16mm, color, music by Teiji Ito, 25 min.
An experiment to use the devices of the film medium to intensify the expressitivity of the Greek myth of Pentheus: cycling hand-held cameras for intoxication, slow-motion pans for hypnosis, single frame cutting for dismemberment, multiple exposures for metamorphosis, etc.
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Jose Rodriquez-Soltero
Jerovi
1965, 16mm, color, silent, 11.5 min.
JEROVI is a beautifully photographed version of the Narcissus. A handsome youth in a richly brocaded tunic saunters around a lush park, toting a big flower and pausing occasionally to admire himself in a hand mirror. --Juan A. Suárez
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Jack Smith
Overstimulated
1959, 16mm, color, sound on cassette, 3 min.
"This short film, restored in 1995, stars Jerry Sims and the late filmmaker, Bob Fleischner. It is an early filmic exploration of the 'aesthetic of delirium' which Smith developed in his later films. At one time, in the 1970s this film was treated by Smith as a fragment, and included in various film/performances with No President. The audio cassette has 12 minutes of material and can be played at any point for the duration of the film." -- J. T. Plaster Foundation
The work of James Fotopoulos has shown internationally at many festivals and sites including International Film Festival Rotterdam, the New York Underground Film Festival, Sundance Channel, the Walker Art Center, and the Andy Warhol Museum, among others. In 2002 he had a retrospective at Anthology Film Archives and was exhibited in the 2004 Whitney Biennial. In 2005 he received the Creative Capital Grant for his video on the life of Richard Nixon, published a book of drawings, The Lime Book, and completed an installation for the 2005 Contour Biennial for Video Art. His most recent video, The Hard Boiled Egg, produced from an unpublished screenplay by Eugene Ionesco, will premiere at the Museum of Modern Art in May. He is currently working on a commercial feature, Area Six with O'Hara/Klein Ventures.
PROGRAM
The Nest
2003 16mm, color, sound, 78 min.
"Somewhere in the Midwest, a young couple's starter apartment
discharges the anomie stored in its cool, white walls and sparse,
angular furnishings. The eponymous nest and the true star of
this suburban gothic, its light fixtures ooze bilious greens and
overripe ambers onto surgically extracted blocks of cheap architecture that
each emit their own pitches and grinds of white noise. A nonstop
3am panic attack of drywall-crawling despair, this is the field
on which James Fotopoulos assembles his latest assault on the
senses.
To pin down and enumerate what happens in The Nest is to do violence to it. Better to list effects, colors, and key phrases, cut up and drawn from a hat, than offer any kind of chronology. More textural than textual, it distills dramatic tensions to a 78-minute environment of pure narrative: out of time, unencumbered by plot or rounded characters and demanding to be taken as a story that happens chiefly to the audience rather than to the figures in its landscape." -- Spencer Parsons, Cinematexas
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The Scythe
2002 16mm, b/w, sound, 2 min.
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Two Cats
1999 16mm, color, silent, 46 sec.
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PROGRAM
Storm De Hirsch
Newsreel: Jonas in the Brig
16mm, b&w, silent, 5 min.
A newsreel of Jonas Mekas shooting his filmed version of "The Brig"
on the set of the Living Theatre production. --S.D.H.
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Takahiko Iimura
Filmmakers
1966/69 16mm, color, sound, 30 min.
This is a film portrait of filmmakers whom I was most interested in at the time; Stan Brakhage, Stan Vanderbeek, Jack Smith, Jonas Mekas, Andy Warhol, and Takahiko Iimura, shot during my first visit in U.S.A., 1966-1968, and the n completed in Japan, 1969 with "comments" literally pointing out in words w hat I see in the picture at the moment (like an English lesson). Each filmmaker's part is about 5 minutes (200 feet) (except Iimura, 50 feet) without editing but in camera, most is shot without looking through the viewfinder. A part of Jonas Mekas is shot by himself and Akiko Iimura. Intentionally the film "borrowed" the technique of the filmmaker in his part (ex. frame-by frame shot at the part of Jonas Mekas as he has often employed it in his film). Collection of Anthology Film Archives, New York.
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Taylor Mead
Home Movies/N.Y.C. to San Diego
1968 16mm, color, cass, 19 min.
N.B. Sound on Cassette. Sync beginning of sound with image before light blue television images. Generally, start cassette while leader is seen. With Andy Warhol, Viva, Joe D'Alessandro, Louis Walden, Nuana, Eric Emerson, Paul Morrissey. "Films highly praised as among earliest in single (double, triple, etc.) frame style by Jonas Mekas (director of Anthology Film Archives, N.Y.C.). Awarded New York State Council of the Arts grant on basis of the films. In 1982 critic Bartlett Naylor in San Fransisco press described the films, including an opening quote by Taylor Mead: 'I shot my home movies with the cheapest, littlest hand-held camera I could buy. And in the low 1960s film was so expensive that I just used the single frame button.' This apology is a modest introduction to a very artful (though decidedly unprofessional in the monetary sense) ten minute ('to twenty') flick that might be called 'The Grand Tour.' The film flickers through a millennium of culture as it would appear to a tourist. It is an intense film, yet, there is an incredible wealth of information surprisingly accesible. Aside from the exciting experience itself, the breakneck history lesson is a reminder that the mind can move in lightning steps: the plodding way information is typically presented is an insult to mental capability." -- T.M.
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Jonas Mekas
Scenes of the Life Of Andy Warhol
1965/82 16mm, color, sound, 36 min.
Music: Velvet Underground, recorded in 1966. Opening segment taped at the Dom at the public performance with Nico. End section: Mass for Andy Warhol at St. Patrick's Cathedral. The film is made up of my film diaries related to Andy Warhol from the years 1965-1982. Locations are New York and Montauk: The Factory, house of George Maciunas, village gate, psychiatrist's convention, home of Stephen Shore, Warhol Estate, Montauk, etc. The "cast" includes Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Andy Warhol, Allen Ginsberg, Ed Sanders, Barbara Rubin, Tuli Kupferberg, Peter Orlovsky, John Lennon, Yoko Ono, George Maciunas, Vincent Friemont, Henry Geldzahler, Paul Morrissey, Karen Lerner, Jay Lerner, Peter Beard, John Kennedy Jr., Lee Radziwill, Tina Radziwill, Anthony Radziwill, D'Allessandro, Caroline Kennedy, Mick Jagger, Jade Jagger and many others.
Completed in June, 1990.
In 1985 artists Leslie Lowe and Jack Waters realized that the only way people were going to see their films and the films they liked was to self-exhibit (and to show the films too!). Using the Lower East Side art center ABC No Rio as home base they showed super 8, 16mm and video in galleries, theaters, lofts, salons, nightclubs, street corners -- wherever you could fit a projector - all over Manhattan, the U.S.A. ... the World. The mixed bag aesthetic was a rare venue where Todd Haynes , Christine Vachon , Richard Kern , and Nick Zedd , to name a few, showed side-by-side with classic titles like Sergei Eisenstein's uncompleted Que Viva Mexico , Maya Deren's Meshes In The Afternoon , and such rarely seen films as the 1930's film Forgotten Village , with screenplay by John Steinbeck . Naked Eye Cinema was the ONLY venue of its era that consistently showed film and video by women, gay men, lesbians, and novice makers on the margins of culture. A center of the newest and most challenging spheres in contemporary music, performance and visual art, the spirit of Naked Eye Cinema lives in new and "used" videos that belie genre classification. Let's just say, they're ...different!
PROGRAM
All works to be shown on video.
original formats are indicated in the following descriptions:
Aline Mare/Erotic Psyche
Cassandra: Seething At The Mouth
VHS, color, 7 min., 1985
Revenge of the dirty words with a raging tongue.
With Kembra Pfafler & Aline Mare
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Bradley Eros/Erotic Psyche
Hystery
video, color, 7 min., 1985
(with Jack Waters & Sharon Gannon)
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Kembra Pfahler Interview
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Kembra Pfahler
Cornella The Story Of A Burning Bush
S8 10 Minutes 1985
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Jack Waters
Siegfried
16 MM @ 12 min c. 1987
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Leslie Lowe and Jack Waters
Nocturnes
16MM 13 Min 1987
Chopin Nocturnes accompany this study in black and white
inspired by HuysmanKs decadent novel A Rebours
Brad Taylor, Valerie Carris, Peter Cramer, Adrian Saich
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Peter Cramer Interview
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Peter Cramer
Corrective Measures
S8 10 Min 1986
Capturing the conflict of fighting violence with violence, terror against
terrorism, politics exploiting itself
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Carl George Interview with Kembra Pfahler and Contessa Vallee
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Carl George
Whipporwill
S8 17 Min 1987
A grand scale oeuvre featuring Washington D.C. as the star. Ethel Merman
makes a comeback as AmericanaK ¦ Uncle Sam in drag.
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TOTAL RUNNING TIME: Approx 105 Min.
Naked Eye Cinema Contact:
Jack Waters
P.O. Box 20260 Tompkins Sq. Stn
New York, NY 10009
nakedeyecinema@earthlink.net
http://www.alliedproductions.org