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A transcription of Chris Marker’s 1962 masterpiece, La Jetée.

La Jetée | This is the story of a man, marked by an image from his childhood. The violent scene that upset him, and whose meaning he was to grasp only years later, happened on the main jetty at Orly, the Paris airport, sometime before the outbreak of World War III.

Orly, Sunday. Parents used to take their children there to watch the departing planes.

On this particular Sunday, the child whose story we are telling was bound to remember the frozen sun, the setting at the end of the jetty, and a woman’s face.

Nothing sorts out memories from ordinary moments. Later on they do claim remembrance when they show their scars. That face he had seen was to be the only peacetime image to survive the war. Had he really seen it? Or had he invented that tender moment to prop up the madness to come?

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Max Hattler, 2005, U.K. & Germany, 2 min, color

Collision is a short, award-winning animation from Max Hattler, a London-and-Germany-based animator and artist, whose work we have blogged before, e.g., 1) 1923 (2010), and 2) Live A/V Performance by Max Hattler & Noriko Okaku.  Hattler’s minimalist approach to graphical forms, pattern, and the RGB color palette are bright.

Collision deploys a deft arsenal of shapes on path, stars-and-kaliedoscope-striping geometry, with textures and forms culled from the ensigns of Americana and Islamism. Animators crackle and explode; pattern and cadence enkindle war paradoxes between the U.S. Government, the special interests of the U.S. Gov. (some say Israel), and their Islamic adversaries. The sound design is slick and significant, and this crackle-crisp sound imbues extrasensory depth, while punctuating the graphic.

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“Look” by Sebastien Tellier, visuals by Myzyk & Moriceau, 4 min

I do not own an iPhone, I can’t even text-message, but for those of you who have iPhones, French independent label Record Makers created an iPhone application/game (they dub it “surrealistic”), and apparently you can win prizes by playing. That’s right, you heard right, you can win prizes. And here’s the best part: this iPoop application is f r e e.

Artists Mrzyk & Moriceau created the game; in the game you create random art by swiping different parts of the drawing. Your experimentation paired with your creative iPhone can WIN BIG.

It’s widely accepted by scientists and mathmeticians that our iPhones have and always will be smarter than us. Having said that, we must examine if the iPhone is more creative than the human.

Find it on iTunes

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Breaking news: DINCA.org is the first ‘blog’ ever to have stickers printed. Is this an accomplishment? No. Is this statement true? Probably not — I wouldn’t be surprised if The Huffington Post had some shitty stickers printed.

Will Thomas designed these stickers and we are giving them away for free. We will ship them to you for free. Ultimately, we had no reason to print these, and ultimately, we have no reason not to ship them around.

Just email us your mailing address and we will ship them to you (and we ship international). Simple as that.

Imagine how nice your Trapper Keeper XL will look with a nice orange DINCA stick on there. Do you share this vision?

Andrew Rosinski, 4 min, found footage, 2008

Synopsis: A feverish montage-meditation on the national identity of American Citizens, the culture and trends of American consumerism, the relationship of man to machine, and the abstract relation of machine + wilderness. Americans define their individuality and lifestyle through their consumerism; corporations create sub-cultures, niches, and they market and sell this lifestyle, sending the consumer concealed messages that we need to buy the best to be the best.

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I want my DINCA Tv!

Please visit the official DINCA Tv Vimeo channel. DINCA Tv is your station for sacred visions internet nation. All videos posted on DINCA will be added to DINCA Tv; however, if the video is not available on vimeo, it will not stream on DINCA Tv. Unfortunately, not all videos are available on vimeo (… yet).

If you are a registered vimeo member, you can subscribe to DINCA Tv, and you will be alerted immediately after a new video has been DINCAdded to the channel. You can sign up for free here.

Click here to watch DINCA Tv.

Larry Kless, 1990, 7 min, 16mm

Artist’s Statement: I produced this art film in 1990 completely on an optical printer reshooting 16mm film frame by frame. It won awards at various film festivals and was screened internationally. Here’s the artistic description, “History paints a heroic picture of the so-called “cowboys” of history. Using the hero as a metaphor to questions his validity, this film explores the mythical frontiers of western culture and the romanticism of colonialism.”

Larry Kless on Vimeo

Stan Brakhage, Coupling (1999), 16mm, 5 min, color, silent

Stan Brakhage, Purgation / The Dante Quartet (1987), 6 min, 35mm / 16mm, color, silent

Stan Brakhage, Coupling (1999), 16mm, 5 min, color, silent

Stan Brakhage, Mothlight (1963), 16mm, 3 min, color, silent

Stan Brakhage, Existence is Song / The Dante Quartet (1987), 16mm & 35mm, 6 min, color, silent

Stan Brakhage, Purgation / The Dante Quartet (1987), 6 min, 35mm / 16mm, color, silent

The Chartres Series (1994), 9 ½ min, color, silent

A year ago, I stumbled upon a website that had a fantastic surplus of Stan Brakhage film scans, reviews, Brakhage’s writing, and transcriptions of Brakhage’s lectures. I pulled plenty of Brakhage film scans to my desktop — time passed, and I forgot the source of these scans — and I have periodically DINCAblogged these gorgeous scans, and the source never got accredited … that is, until now.

The source is Fred Camper’s website, and I apologize for not accrediting it earlier. Camper’s website is a Brakhage gold mine and an invaluable resource. Let us enjoy the beauty of Stan Brakhage’s work.

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Papermation, Jen Stark, 2005, 38 sec, with music by Eddie Alonso.

Papermation (2005) is an impressive stop-motion animation by Jen Stark, a Miami-based artist and animator, whose work channels phantasmagoric tropes of the extrasensory, with motifs of psychedelia, the rainbow spectrum, geometric forms, and other extrasensory phantasms that defy classification.

Jen made Papermation entirely from paper, hence the title Papermation. Jen is prolific with paper, using it in her animations, sculptures, and of course, her drawings. Her work has colorful zest, and her work explores the extrasensory in a playful manner. These days, most kaleidoscopic animations are rendered synthetically; however, the tactility of Stark’s approach carries organic warmth; the warmth endures its digital conversion. Charming.

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This audio visual performance premiered at the 2010 London Short Film Festival. The performance is titled (O) and is a collaboration between motion design hot-shots Max Hattler and Noriko Okaku.

London SSF Synopsis: Max and Noriko first met when studying Animation together at the Royal College of Art. There are parallels in their animation-based experimental, semi-narrative, non-dialogue approach to working with film and video. Apart from their live work, they have collaborated on several projects ranging from tour visuals for The Egg and Basement Jaxx to stop-motion film Aanaatt and Max’s latest short film Spin. With (O), their third collaboration, Max returns to his teenage roots in sound/music-making and makes a first foray into live audio performance, complemented by Noriko’s surreal animated visuals.

maxhattler.com
norioka.net

Background Information / Synopsis: 1923 is one of two new animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage. 1923 is based on Lesage’s painting ‘A symbolic Composition of the Spiritual World‘ from 1923.

The second loop, 1925, is based on Lesage’s painting ‘A symbolic Composition of the Spiritual World’ from 1925. It will be available soon.

The films were created during 5 days in February 2010 with animators and CG artists at The Animation Workshop in Viborg, Denmark.

Director: Max Hattler | Technical Director: David René Christensen | Sound: Blake Overgaard | Previz/Layout: Thorvaldur Gunnarsson | Modelling: Thorvaldur Gunnarsson, Arnold Bagasha, Blake Overgaard | Animation: Casper Michelsen, Mikkel Vedel, Thorvaldur Gunnarsson, Blake Overgaard, Arnold Bagasha | Produced by: Max Hattler & The Animation Workshop

Length: 1′50″ loop

Experiments in Cinema 2010 V5.1 schedule

The 2010 Experiments in Cinema v5.1 film festival schedule has been announced. Continue reading to see the complete schedule of films, complete with venues and time slots. For more, visit the official Experiments in Cinema website here.

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by Tuan Andrew Nguyen & Superflex, 2009, 20 min, HD Video

From the Superflex vimeo page: Flooded McDonald’s is a film work in which a convincing life-size replica of the interior of a McDonald’s burger bar, without any customers or staff present, gradually floods with water. Furniture is lifted up by the water, trays of food and drinks start to float around, electrics short circuit and eventually the space becomes completely submerged.

Flooded McDonald’s is a film by Superflex. Produced by Propeller Group (Ho Chi Minh City) in association with Matching Studio (Bangkok) and co-produced by the South London Gallery, the Louisiana Museum of Modern Art (Denmark) and Oriel Mostyn Gallery (Wales) with generous support from the Danish Film Institute.

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This is a screen shot from an untitled film I’m working on. I used Illustrator to create the patterned design and I’m animating the separate layers using After Effects. I’m excited.

do u lodge (click to enlarge)

Here is a teaser trailer of a GAMMA IV entry, made by Cactusquid, an independent video game developer from Västra Götaland, Sweden. Cactus has not released the game, but will provide those who donate via Paypal with a download link, stating on his website, “I’m broke and need money for rent, dentist and beer. So feel free to donate. Anyone who donates using the button below will automatically receive the current version of the GAMMA IV entry (hopefully this won’t disqualify me). It’s short, hard and might throw an error on some computers, just so you know.”

Some neat stuff coming out of the underground video game scene. A good introductory site is the Independent Gaming Discussion.

A week or so ago, Bad Lit, a journal of underground film, wrote this thoughtful post pertaining to the process of the underground film blogger. Mike Everleth of Bad Lit has been blogging for almost four years now, wow. Amen to running an underground film blog for four years; it’s widely published that the majority of bloggers throw in the towel after six months.

Cyber-blogging takes an enormous amount of time, and sometimes you may feel as though soaking wet in virtual reality, with liquid aluminum splashin’ and hittin’ the flow, forming metallic puddles — notwithstanding, cyber-blogging is a great time, when you have the time, and time is too expensive.

With this post, I wish to follow in the footsteps of Mike by posting a simple list of experimental/avant-garde/underground film blogs — call them whatever you like — there is a perpetual divergence of the genre definitions, but the fact is, blogs such as these are far, far, few and far between.

I encourage anyone to add a site/blog via comment, just make sure the site correlates with the aforementioned. Let us strengthen the online community of underground/experimental film sites; more people should be exposed to these. Spread the lynx around

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It would have been a great pleasure to have attended the 2010 International Film Festival of Rotterdam. The esteemed festival has always supported the most vanguard works of world cinema — firstly, if you’re a filmmaker and your work is selected as part of Rotterdam’s program, that’s a landmark achievement — secondly, if you’re a filmmaker and your film walks away with an award, you just entered the pinnacle of your career. Regardless of awards, if your film screens, you are a winner.

Ben Russell, a Chicago-based filmmaker, served as delegate of the Chicago underground film scene at the 2010 Rotterdam Film Festival, and his lengthy ethnographic film Let Each One Go Where He May, a film that was also nominated for a Tiger Award, walked away with the FIPRESCI award, an award that is decided by international film critics (B.R. representing Chi Chi!). Congratulations, Ben Russell.

Deborah Stratman, a Chicago-based filmmaker, was another representative of the Chicago underground film scene, with her short documentary Walking is Dancing screening as part of the Signals- Where is Africa program.

This post serves as a simple rundown of the 2010 tiger award winners, mostly because I could not find a rundown list of award winners on the official Rotterdam Film Festival website.

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All right, this post is a little off Dincatopic, however, it pertains to subversion, and underground/experimental cinema is relative to subversion.

A few months ago, the anonymous writers over at 30secondsofhell.com happened to stumble upon Dinca Blog, and they asked if I would do the front-end design for their wordpress blog — clearly I accepted — 30 Seconds of Hell is a television commercial review blog, and that is a blog I can stand behind.

Well, the Super Bowl just ended (I had it on in the background), and with all the commercials and all, I decided to see if 30 Seconds of Hell was live-blogging the event. Unfortunately, they did not live blog on the event, but they did post a wanted ad for contributors who hate commercials enough to blog about them, a post wherein a fantastic animated .gif was embedded.

If you’re interested in entering the blogosphere, visit this 30 Seconds of Hell post for more information. All right, carry on!

The Chicago Underground Film Festival is now accepting submissions for their 2010 festival. The deadlines are approaching fast — if you’re interested in submitting, you have about one month.

The renowned underground film festival is a fantastic opportunity for underground, independent, and experimental film/video makers to screen their work in front of an audience of staunch patrons of the avant-garde. Legendary film critic, Roger Ebert, praises the festival as being a hell of a deal, stating “What you get for your money is not just admission to the films but admission to a subculture”, and another Chicago Tribune film critic, Michael Wilmington, regards the festival as being “Defiantly independent and deliberately scandalous.”

In the past, the CUFF has featured the works of Ben Russell, Deborah Stratman, and has presented retrospectives of Kenneth Anger, George Kuchar, John Waters, Larry Cohen, and Alejandro Jodorowsky. And there’s music too — The Ponys, Joan of Arc, Bobby Conn & The Glass Gypsies, Plastic Crimewave Sound, The Cheater Slicks, The Demolition Doll Rods, Califone, Frontier, Red Red Meat, The Handsome Family,The Wesley Willis Fiasco, Maureen Tucker, The Gaza Strippers and the Waco Bros have performed at past festivals. Folks, we’re talking about a party for the arty.

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2007, 10:05, HDV/mini-DV/DVD. color, stereo sound

Leighton Pierce, an experimental filmmaker from Iowa City, Iowa, created this wondrous work back in 2007, way back when Sundance actually considered true experimental works, rather than just saying they do, and Number One appropriately found acclaim — and acclaim from the big festivals — Sundance, Tribeca, San Francisco International, Hong Kong Film Festival, Montreal Film Festival, the Ann Arbor Film Festival, and it won the First Place Award at the Black Maria Film Festival. Leighton Pierce’s Number One film won Number One film — verily apposite!

Number One represents Pierce as being an eclecticist — and an editor who paints with a soft bush — who blends a wide array of images plucked from nature. Abstractions are the result of frame deconstruction, experiments in frame size and shape, the re-assemblage of the frame, and the juxtaposing movements of on-screen action and hand-held POV camera movements.

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