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Archive for the ‘experimental film’ Category

7 Question Interview with Jeremy Boxer, Director of the 2012 Vimeo Festival + Awards

13 December, 2011 by

Vimeo Festival + Awards 2012 Logo

Dec. 13, 2011 — Vimeo, the amiable filmmaker and artist friendly video-hosting service, opened submissions today for the second Vimeo Festival + Awards, “which celebrates the most creative and original videos online and the individuals that make them.”

Beginning today through February 20, 2012, filmmakers can submit their works for consideration in one of 13 different judged categories.

Last year, the judge panel was impressive — David Lynch judged the “experimental” category — and this year the judges will be equally impressive; however, the judges are to be announced sometime in early January.

Submit your work to the 2012 Vimeo Festival + Awards > click here.  Vimeo will award Grants of $5,000 to all of the 13 category winners, as well as awarding a Grant of $25,000 for the Grand Prize winner.

Jeremy Boxer, the Director of the 2012 Vimeo Festival + Awards, spoke with us yesterday. Mr. Boxer explains now, more than ever, is a propitious time to be an artist producing work that’s disseminated on the internet.


 

(1) Why should a filmmaker submit to the 2012 Vimeo Festival + Awards?

The main difference from traditional film festivals is we only accept work that has premiered online — anywhere — not just Vimeo. The majority of film festivals do not accept work that has premiered online.   Our hope is that in the future every festival will accept work that has premiered online.

 

(2) What categories/genres are in competition in the 2012 Vimeo Festival + Awards?

There are 13 categories.  Experimental, which is of course of interest to your readers. Lyrical is a new category this year. The Lyrical category encompasses poetic videos based on a personal world-view. These are personal representations of the way the creator looks at the world. For example, travelogues or time-lapses of a local neighborhood.  Captured is a category not based on filmmaking technique but more on what is being captured by the video, for example, a performance based work or projection art.

The other new categories include Advertising, Action Sports, and Fashion and returning categories from our inaugural Vimeo Festival + Awards are:

  • Narrative
  • Animation
  • Original Series
  • Motion Graphics
  • Music Video
  • Documentary
  • Remix

 

(3) Will David Lynch return to judge the experimental category?

We are announcing a few of the judges now.   The remainder of the judges will be announced January. The judges will be equally as impressive as in 2010.

 

(4) Filmmakers can submit their work using Vimeo via the Internet; are there post-internet distribution/exhibition opportunities in place for the winners? Will there be a time to P-A-R-T-Y?

We will have an Awards ceremony, talks, workshops and a bunch of screenings as part of the festival.   As we are 6 months out, we’re currently in the planning process and are open to ideas.   As we get closer to making that announcement, we’ll reach out to you with all of those specifics.

 

(5) Last year, Chris Beckman won the Experimental category award for his film OOPS.

Shortly thereafter, Beckman’s film was named an official selection of the corporate-industry-driven 2011 Sundance Film Festival and Beckman directed a commercial for Motorola, for whom he made a branded short film directly inspired by OOPS.

What potential professional opportunities are available to a filmmaker submitting to the 2012 Vimeo Festival + Awards?

Our intention is to provide filmmakers with opportunities they would never have had before. We want to provide the gold standard for what you can find online and in so doing provide filmmakers the potential to be seen by a much wider audience which could lead to their big break. Because of Vimeo’s reach, we can put a filmmaker’s work in front of an audience of hundreds of thousands.

After its discovery at the Vimeo Festival + Awards, Chris Beckman’s Oops was chosen as an Official Selection at Sundance Film Festival 2011.  Chris then went on to direct for such brands as Motorola. Sundance reached out to me directly to ask for Chris Beckman’s information for him to be entered into the festival. This was great, as it was the first time I heard Sundance was accepting films that had premiered online.

Another inaugural award winner was Onur Senturk, he had just graduated university when he entered the Vimeo Festival + Awards.  After winning for his film Triangle, due to the Festival’s exposure, Paramount asked him to create the motion design title sequence for Transformers: The Dark Side of the Moon.

The Overall + Documentary winner, Eliot Rausch, has been showered with media attention that landed him a spot on the Carson Daily Show and more commercial work than he ever expected to see in his lifetime.  He’s in post- production on his latest documentary — a film he was able to produce with the grant money he received from winning the 2010 Vimeo Festival + Awards. He has gone on to be offered more work than he knows what to do with.

To give you a sense of what Vimeo can do for filmmakers, here is another very recent example.  A few weeks ago, James Curran, a 28 year old from UK, put up his own homage credit sequence for “Tin Tin.”   The beautiful animated piece came to the attention of Steven Spielberg who hired him for his next film.

You never know who might be watching.

 

(6) If you could send a submitting filmmaker one special message, what would it be?

The goal of Vimeo Festival + Awards is to expose your film to a much wider audience.   We welcome you to submit and we wish you all good luck!

 

(7) Anything else you want to add?

We’re just hoping that more filmmakers will submit so that more of them have a chance at all of these incredible opportunities in existing and new categories added for 2012.

 

More:

—> Submit

2012 Vimeo Festival + Awards

Jeremy Boxer on Vimeo

Submit : : 2012 Vimeo Festival + Awards

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Kickstarter: INCITE Journal of Experimental Media, Issue #3: New Ages

30 October, 2011 by

Q. Why is a ghost such a messy eater?
A. Because he is always a goblin.

Q. Why did the skeleton go discothèque dancing?
A. To see the booooooogy man.

Q. What tops off a ghost’s ice cream sundae?
A. Whipped scream3.

Q. What is R.L. Stine’s favorite drink?
A. Purp GHOUL-AID.

Q. Why didn’t the skeleton see the transgressive, non-narrative experimental film?
A. He didn’t have the guts.

Are you a patron of spooky, obscure things like gouls, goblins, and journals of experimental media? Well, boo-gy down and check out INCITE, a fantastic journal of experiment media. There are five days left to support INCITE, so please consider kicking it: http://kck.st/incite3 — and check out the rare swag.

The forthcoming issue of INCITE, “New Ages,” features over 160 pages of writing, art work, interviews, scholarly articles, more than 20 full color images, and contributions by 25 artists, filmmakers, writers, curators, and scholars from across the U.S. and Canada.  We recently launched a Kickstarter campaign to raise funds for the printing of the issue, which ends in early November.

INCITE #3 aims at addressing the generational shifts and divides in today’s experimental film, video, and new media spheres, utilizing the 2010 International Experimental Media Congress as an opportunity for reflection. In addition to compiling a dossier of idiosyncratic reflections on the Congress, this issue also focuses on the renewed fascination with “New Age” spirituality, philosophy and aesthetics among contemporary media artists. You can view the Table of Contents for Issue #3 and read the Congress Dossier online.

Contributors include: Dominic Angerame, Jaimz Asmundson, Jeremy Bailey, Christina Battle, Thomas Beard, Roger Beebe, Michael Betancourt, Mireille Bourgeois, Jacob Ciocci and Jesse McLean, Clint Enns, Walter Forsberg, Brian L. Frye, Benj Gerdes, Brett Kashmere, Eliza Koch, Kevin McGarry, James Missen, Shana Moulton, Peter Nowogrodzki, Marisa Olson, Andrew James Paterson, Ken Paul Rosenthal, Ekrem Serdar, Leslie Supnet, Tess Takahashi. Cover design by Jacob Ciocci.

The website for the journal is here:
http://incite-online.net

Details about the Kickstarter campaign are here:
http://kck.st/incite3

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Fiorucci Made Me Hardcore (1999) by Mark Leckey

26 September, 2011 by

Fiorucci Made Me Hardcore by Mark Leckey (15:00, video, 1999)

Everybody dance now.

Described by one commentator as the best thing they’d ever seen in a gallery, Fiorucci Made Me Hardcore is an extended paean to the unadulterated bliss of nocturnal abandon. A documentary of sorts, Leckey’s video chronicles the rites of passage experienced by successive generations of British (sub)urban youth.
— Matthew Higgs, ArtForum

video still: Fiorucci Made Me Hardcore by Mark Leckey

More:

Mark Leckey: Wikipedia

Mark Leckey: Rhizome Interview

Turner Prize Winner Mark Leckey

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Loretta (2003) by Jeanne Liotta

15 September, 2011 by

Loretta, jeanneLIOTTA, 2003, 16mm, 4 min, sound by Carlo Altomare

Light and dark on film
Light and dark on screen
A telephone rings, a figure is seen.

Light and dark on film, light and dark on screen
The new and the Light
The new Light from the Dark make Gold.

Light and dark on film
Light and dark on screen
The old sound will ring; the new sound will ring.

Synopsis: An abstract moving rayogram in the form of a woman or an aria. Living-in-time experienced as a high drama, dissolving into the infinite. A dialectical manifestation of phenomena in flux, like any other movie.
www.jeanneliotta.net/loretta.html

More:

Jeanne Liotta’s website
Jeanna Liotta on vimeo

Jeanne Liotta: artist & believer.

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Harry Smith’s Birthday Party by Allen Ginsberg

10 August, 2011 by
“Harry Smith's Birthday Party” by Allen Ginsberg, 1998.

“Harry Smith's Birthday Party” by Allen Ginsberg, 1998, estate stamped 32 1/4" x 24 1/2"

A helpful commenter (thanks!) lead me to “Harry Smith’s Birthday Party,” a two color lithograph and screenprint by Allen Ginsberg.

Edition of 39, available through Gemini GEL.

(Sidenote: DINCA welcomes all comments. Comments are fun and helpful, especially when contributing additional informational. To obviate spam comments, we close dincomments after 60 days. Aight, rip it up.)

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Frames: The Coming Race (2006) by Ben Rivers

28 June, 2011 by

The Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben RiversThe Coming Race (2006) by Ben Rivers

Ben Rivers, UK / Ireland, 2006, 16mm, 5 min, B/w, Sound

A five minute meditation upon the evolutionary journey of mankind;  the esoteric climb of man en masse; whence, how, and whither.

Frames are presented in sequential order.

More: Ben Rivers’ website.

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2011 Chicago Underground Film Festival Schedule, June 2–June 9

30 May, 2011 by
MERCURIAL MADNESS Kerry Lataila, 7 min., Video, 2010, USA

MERCURIAL MADNESS by Kerry Laitala

Below is the schedule for 2011 Chicago Underground Film Festival, which is this week, with opening night on Thursday, June 2. The 18th annual CUFF runs June 2–June 9 at the Gene Siskel Film Center.

The festival will screen new work from Deborah Stratman, Ben Russell, Jesse McLean, Ben Rivers, Kerry Laitala, Leighton Pierce, Michael Robinson, Jodie Mack, and many more.

Click here for the robust schedule with stills and synopses. Click here for ticket information. More information at the CUFF website.

THURSDAY, JUNE 2nd

8:00PM

OPENING NIGHT

SOME GIRLS NEVER LEARN
2011, Jerzy Rose, USA, 80 min.
Interdimensional premiere!

with:
MONICA PANZARINO SINGS THE STAR-SPANGLED BANNER
2011, Monica Panzarino, USA, 3 min.

FRIDAY, JUNE 3rd

6:00 PM

SHORTS PROGRAM: MY HEAD IS MY ONLY HOUSE UNLESS IT RAINS
2009-2010, Various directors, Various nations, 89 min.

TAMALPAIS Chris Kennedy, 14 min., 16mm, 2009, Canada
ANNE TRUITT, WORKING Jem Cohen, 13 min, 16mm on Video, 2009, USA
PERIPETEI’EM Andrew Mauset-Mooney, 3 min, 16mm on Video, 2009, USA
SECOND LAW: SOUTH LEH ST. Mike Gibisser, 14 min., 16mm, 2011, USA
RETROGRADE PREMONITION Leighton Pierce, 5 min,. Video, 2010, USA
PROJECTIONS Kendra Ryan, 3 min, Video, 2009, USA
ZEITRISS Quimu Casalprim i Suárez, 11 min,, Video, 2009, Germany
HOME MOVIE John Price, 27 min, 35mm, 2010, Canda

8:00PM
(Repeats Thursday, June 9th, 8:00PM)

THE BALLAD OF GENESIS AND LADY JAYE
Marie Losier, 75 min.,16mm on Video, 2010, USA

with:
IRMA Charles Fairbanks, 12 min., 16mm on Video, 2010, USA
LÁZSLO LASSÚ Ben Popp, 3 min., Video, 2010, USA

10:00 PM
(Repeats Wednesday, June 8th, 8:00PM)

PROFANE
2011, Usama Alshaibi, USA, 78 min.

with:
TEARS CANNOT RESTORE HER: THEREFORE, I WEEP 2011, Jennifer Reeder, USA 10 min.

SATURDAY, JUNE 4th

1:00 PM

AND AGAIN
2010, Adele Horne, USA, 56 min.

with:
DEVIL’S GATE 2011, Laura Kraning, USA, 20 min.
THE VOICE OF GOD 2010, Bernd Lützeler, India/Germany, 10 min.

2:00 PM

SHORTS PROGRAM: THE SMITHSONIAN INSTITUTE BLUES (OR THE BIG DIG)
2009-2011, Various directors, USA, 90 min.

CURRENT (REPRISE) Brian Doyle, 7 min., super 8 on Video, 2010, USA
HISTORY MINOR Ryan Garrett, 19 min., 16mm on Video, 2010, USA
ARSENIC Robert Todd, 11 min, 16mm, 2011, USA
BROAD CHANNEL Sarah Christman, 14 min., 16mm, 2010, USA
THE SOUL OF THINGS Dominic Angerame, 15 min., 16mm, 2010, USA
MEASURES KINDLING JB Mabe, 30 sec., 16mm, 2010, USA
TO ANOTHER JB Mabe, 57 sec., 16mm, 2010, USA
YOUNG BIRD SEASON Nellie Kluz, 19 min., Video, 2011, USA

4:00 PM

SHORTS PROGRAM: POMPADOUR SWAMP
2009-2011, Various directors, Various nations, 90 min.

HOW TO HAVE A SEIZURE Michael Wawzenek, 3 min., 16mm, 2011, USA
BLOOD & CINNAMON Jessie Mott and Steve Reinke, 6 min., Video, 2010, USA
UNCONTROLLABLE JOY FOR LIFE Kari Corbett and Crispin Rosenkranz, 7 min., Video, 2010, USA
CHAINSAW FOUND JESUS Spencer Parsons, 22 min., Video, 2010, USA
UNICORNHOLE Lucas Dimick and Dax Norman, 5 min., Video, 2011, USA
DARE DOUBLE James, N Kienitz Wilkins, Eugene Wasserman and Dan Fridman, 29 min., Video, 2010, USA
UNSUBSCRIBE #3: GLITCH ENVY Jodie Mack, 6 min., 16mm, 2010, USA
SECOND FIRING Kelly Oliver and Keary Rosen, 3 min., Video, 2010, USA
ZOLTAN: THE HUNGARIAN GANGSTER OF LOVE Justin Reardon, 14 min., 16mm on Video, 2010, USA

5:15 PM

(Repeats Tuesday June 7th, 6:00PM)

SHORTS PROGRAM: I’M GONNA BOOGLARIZE YOU BABY
2009-2011, Various directors, Various nations, 87 min.

SPACEBOY Mike Olenick Video, 2009, USA
MERCURIAL MADNESS Kerry Lataila, 7 min., Video, 2010, USA
THESE HAMMERS DON’T HURT US Michael Robinson, 13 min., Video, 2010, USA
AGAINST CINEMA Alberto Cabrera Bernal, 9 min., Video, 2010, Spain
THE PROGNOSTICATOR (OR WE ARE ALL PYTHAGOREANS NOW) Brent Coughenour, 26 min., Video, 2011, USA
CEIBAS EPILOGUE – THE WELL OF REPRESENTATION Evan Meaney, 7 min., Video, 2011, USA
THE BLOCKBUSTER TAPES Daniel Martinico, 6 min., Video, 2009, USA
LONG LIVE THE NEW FLESH Nicolas Provost, 14 min., Video, 2009, Belgium

6:00 PM

THE COLOR WHEEL
2011, Alex Ross Perry, USA, 83 min.

8:00 PM
(Repeats Wednesday, June 8th, 6:00PM)

BATTLE FOR BROOKLYN
2011, Michael Galinsky and Suki Hawley, USA, 93 min.

10:00 PM
(Repeats Tuesday, June 7th, 8:00PM)

SNOW ON THA BLUFF
2010, Damon Russell, USA, 79min.

with:
WE’RE LEAVING 2010, Zachary Treitz, USA, 12min.

 

SUNDAY, JUNE 5th

1:00 PM
(Repeats Thursday, June 9th, at 6:00 PM)

SHORTS PROGRAM: A CARROT IS AS CLOSE AS A RABBIT GETS TO A DIAMOND
2008-2011, Various directors, Various nations, 87 min.

THE MAN WHO WENT OUTSIDE Jennet Thomas, 10 min., Video 2008, UK
NEGATING THE INCREASING POWERLESSNESS OF THE MOST PHOTOGRAPHED THING IN AMERICA Olivia Ciummo, 5 min., Video, 2010, USA
POSTFACE Frédéric Moffet, 8 min., Video, 2011, USA
LIKE Luis Arnias, 3 min., 16mm, 2010, USA
ACCEPTING THE IMAGE Karel De Cock, 19 min., Video, 2010, Belgium
BATHING IN MILK Jenna Feldman, 18 min., Video, 2010, USA
SLIPSTREAM D. Rickman, 4 min., Video, 2010, USA
MAGIC FOR BEGINNERS Jesse McLean, 21 min., Video, 2010, USA

1:45 PM

TOTAL BADASS
2010, Bob Ray, USA, 91 min.

with:
THE FOREST 2010, Steven Summers, USA, 16 min

4:00 PM

THE OBSERVERS
2010, Jacqueline Goss, USA, 69 min.

with:
TRYPPS # 7 (BADLANDS) 2010, Ben Russell, USA, 10 min.
IMUM COELI (BOTTOM OF THE SKY) 2011, Mirka Morales, USA, 6 min.
EVERYTHING IS EVERYDAY 2011, Patrick Tarrant, UK, 10 min.

6:00 PM
(theater 1)

SHORTS PROGRAM: FLASH GORDON’S APE
2010-2011, Various directors, Various nations, 97 min.

THESE BLAZEING STARRS! Deborah Stratman, 14 min. 16mm, 2011, USA
BEADS Andrew Rosinski, 8 min., 35mm on Video, 2010, USA
A TIME SHARED UNLIMITED Zachary Epcar, 10 min., 16mm on Video, 2010, USA
ALTER HUMAN Lars Stiltberg, 20 min., Video, 2010, Sweden
SLOW ACTION Ben Rivers, 45 min., 16mm, 2010, UK

8:00 pm
(theater 2)

SHORTS PROGRAM: CARDBOARD CUTOUT SUNDOWN
2010, Various Directors, USA, 89 min.

THE GARDEN Ann Steuernagel, 10 min., Video, 2010, USA
DARLING Kate McCabe, 4 min., 16mm on Video, 2010, USA
HOPPER REPAIR Ross Nugent, 5 min., 16mm, 2010, USA
ILLNESS MAGNIFIED Julia Fuller, 17 min., Video, 2010, Video, USA
SHOALS Melika Bass, 52 min., 16mm on Video, 2011, USA

8:00 PM
(theater 1)

CLOSING NIGHT FILM!

HEAVY METAL PICNIC
2010, Jeff Krulik and John Heyn, USA, 66 min.

with:
HEAVY METAL PARKING LOT 1986, Jeff Krulik and John Heyn, USA, 17 min.
MOBY DICK 2010, Tony Balko, USA, 8 min.

 

MONDAY, JUNE 6th

6:00 PM

HALFLIFERS AND FRIENDS: REACTIONS IN REACTION
1991-2007, Various directors, Various nations, 75 min.
Curated by HalfLifers

8:00 PM

HORI SMOKU SAILOR JERRY: THE LIFE OF NORMAN K. COLLINS
2008, Erich Weiss, USA, 77 min.

More information at the CUFF website.

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Review: All Through the Night (2008) by Michael Robinson

25 May, 2011 by

All Through the NightMichael Robinson, 2008, 4 min, digital video

Michael Robinson‘s All Through the Night (2008) is a trenchant journey of melancholy and longing; a four minute pastiche of found footage, found audio, and found music. A cacophony of sound bites, shuttering, stuttering, and Cyndi Lauper. The titular track by Cyndi Lauper is looped beyond recognition apropos as the opening edit jogs and shuttles; as with the pacing that hops, skips, and jumps o’er the misty water to find a Priestess on the bow of an oneiric sail boat, directing emotion with her movement. Perhaps the Priestess embodies spirituality and the sail boat forward movement.

Spiritual movement, a spirit journey guided by a female higher power; however, on the lower plane of existence is the paradox of knowing and not knowing, the illusions of Maya, expressed in the cavernous animated sequence where an older figure explains to the youth that, “I told you, time and time again — now remember: flowers, beauty, joy and love, are all illusions. They do not exist — at all — forget them.”

Undulating architecture follows, tinged in blue against black: blue emotion, black uncertainty.

“There is no room for love.”

Oh, but there is room for love. For some, this glum line is a salutary reminder that love and beauty are omniscient — but there is a tendency to overlook it in everything, everyday — sometimes the sad part is time and space. But every emotion holds its opposite, and the effect of every action its polarity. Each hold balance, each direct change for the better, for the progress of all.

Robinson’s All Through the Night is wind that blows the mind and spirit. The more you know, the more you don’t know. The more you remember, the more you forget; the more you forget, the more you remember — the good ole story of love and beauty, movement and transformation.

— AR

More:

Michael Robinson’s website

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Frames: At Sea (2007) by Peter Hutton

16 May, 2011 by

At Sea (2007) a film by Peter HuttonAt Sea (2007) a film by Peter HuttonAt Sea (2007) a film by Peter HuttonAt Sea (2007) a film by Peter HuttonAt Sea (2007) a film by Peter HuttonAt Sea (2007) a film by Peter Hutton

Peter Hutton, 2007, 59 min, 16mm, color, silent
Stills are presented in reverse sequential order.

Peter Hutton (born 1944 in Detroit, Michigan) is an experimental filmmaker, known primarily for his silent cinematic portraits of cities and landscapes around the world. He has also worked as a professional cinematographer, most notably for his former student Ken Burns. Hutton studied painting, sculpture and film at the San Francisco Art Institute. He has taught filmmaking at CalArts, Hampshire College, Harvard University, SUNY Purchase, and Bard College, where he has served as the director of the Film and Electronic Arts Program since 1989. Hutton’s films are distributed by Canyon Cinema in San Francisco. In May 2008 the Museum of Modern Art in New York held a full retrospective of Hutton’s films. — Peter Hutton Wiki

More: At Sea animated .gif

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Space Program: MARS, or War Huh Yeah What Is It Good For Absolutely Nothing Say It Again, 5/1/2011

29 April, 2011 by

Crossroads by Bruce Conner (36:00, 16mm, 1976)

SPACE PROGRAM presents
MARS, or War Huh Yeah What Is It Good For Absolutely Nothing Say It Again

Sunday the 1st of May at 7:30pm
at Thalia Hall, 1807 S Allport, Chicago, IL (map)
$5 suggested donation
this space is unheated, so bring warm clothes, sleeping bags, blankets, etc
curated by Ben Russell

**this space is unheated, so bring warm clothes, sleeping bags, blankets, etc

“ Oh, rust-surfaced sphere, with your receding polar ice caps and optical illusion canals!  If not for your half-mass, your eccentric orbit, and your global dust storms, we would call you sister or cousin; but it was your fiery red-lit temperament and your thin atmosphere that led the Romans to name you after their God of War, and we at SPACE PROGRAM shall do the same.  We shall land our newest craft upon the peak of your Olympus Mons, and from that vantage point (highest in the solar system) we shall survey the entire galaxy stretched out before us.  Unlike the 2/3rds of failed Mars voyages that left before us, we shall traverse your Valles Marineris with the understanding that the power of Mars as the power of War is a power best used to secure the peace.  Our childhood wargames (Geissler/Sann), our damaged soldiers (Single Spark Film Collective), our flicker destruction (Sharits), our media paralysis (Smith), and our transcendent explosions (Conner) are herewith submitted as evidence.  With a question on our lips we shall raise our flag upon your soil, its single dollar/Euro sign fluttering in the solar wind: Oh, Mars – if it costs $309,000 per kilogram to land upon your basalt surface, what (pray tell) is the average cost of peace? ” — BR

FEATURING:
Fuck the War by Beate Geissler and Oliver Sann (4:00, video, 2007)
Winter Soldier by Single Spark Film Collective (20:00, 16mm, 1971)
T, O, U, C, H, I, N, G by Paul Sharits (12:00, 16mm, 1968)
Frozen War by John Smith (11:00, video, 2002)
Friendly Fire by Thorsten Fleisch (7:30, 16mm, 2003)
Crossroads by Bruce Conner (36:00, 16mm on video, 1976)
TRT 90:00

***
MARS PROGRAMME DETAILS
Fuck the War by Beate Geissler and Oliver Sann (4:00, video, 2007)
The film is, on the one hand, a con­tem­po­rary Lord of the Flies, which evokes the ongo­ing sense­less­ness of vio­lence and war, bring­ing the mes­sage home by allow­ing Ger­man (rather than Iraqi or Sierra Leonese) chil­dren to explore the giddy chaos of mil­i­tary power. At the same time, it speaks to the innate instincts and prim­i­tive impulses that remain only shal­lowly buried beneath our civ­i­lized surfaces.

Winter Soldier by Single Spark Film Collective (20:00, 16mm, 1971)
Vietnam vets give testimony at the Winter Soldier tribunals. Vet after vet talks about what he personally experienced in Vietnam, what he was made to do as a soldier in an imperialist army. Revealed by nightmarish firsthand account are the atrocities committed against the Vietnamese people.

T.O.U.C.H.I.N.G. by Paul Sharits (1969)

T, O, U, C, H, I, N, G by Paul Sharits (12:00, 16mm, 1968)
“Merges violence with purity.” – P. Adams Sitney

Frozen War by John Smith (11:00, video, 2002)
A disorientating experience while attempting to watch the TV news in an Irish hotel room triggers a spontaneous response to the bombing of Afghanistan.

Friendly Fire by Thorsten Fleisch (7:30, 16mm, 2003)
Friendly Fire (2003) literally burned what you could see, and it was the light of the fire, the projector’s beam, that played out in stunning violence onscreen. With so much attention dedicated to the preservation of film, FriendlyFire proposed a cathartic alternative: ruined figures of melted celluloid and crackling ash. in death film comes alive, more vital, reborn by the very forces that destroy it. (Genevieve Yue ‘Senses of Cinema’)

Crossroads by Bruce Conner (1976)

Crossroads by Bruce Conner (36:00, 16mm, 1976)
The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown from 27 different angles, and accompanied by avant-garde Western classical music composed for electric organ by Terry Riley.
+++



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Seven Question Interview with Matt McCormick, Portland-based Filmmaker and Artist

20 April, 2011 by

Matt McCormick filmmaker and artist Matt McCormick filmmaker and artist Matt McCormick filmmaker and artist

Matt McCormick is an ardent filmmaker and artist who resides in Portland, Oregon. He is an eminent maker in the avant-garde and independent sphere of cinema — voted one of the best filmmakers of the 21st century, according to a poll conducted by the Film Society of the Lincoln Center — Matt found early success with his well-known short The Subconscious Art of Graffiti Removal (2002, narrated by Miranda July), which was named in  ‘Top 10 / Best of 2002’ lists in both The Village Voice and Art Forum magazine.

Matt collaborates with notable artists; Matt makes music videos for recognized bands: Broken Bells, The Shins, Miranda July, Sleater-Kinney, The Postal Service, YACHT, Al Burian, Eluvium, Patton Oswalt, and Calvin Johnson, to name a few.

Matt McCormick has an aptitude for successfully distributing his films, whether it be D.I.Y. and starting his own distribution label (Peripheral Produce) and founding the PDX Film Festival, or simply just making great work and having it exhibit in a theatre, gallery, or festival.

“Matt has had three films screen at the Sundance Film Festival, and has had work screened or exhibited at MoMA, The Serpentine Gallery, The Oslo Museum of Modern Art, the Reykjavik Art Museum, The Seattle Art Museum, and in 2007 he was selected to participate in both the Moscow Biennial and Art Basil.  He has received awards including Best Short Film from the San Francisco International Film Fest, Best Experimental from the New York Underground Film Fest, and Best Narrative from the Ann Arbor Film Festival.

Matt’s debut feature film Some Days are Better Than Others premiered at SXSW and was invited to screen in the New Directors / New Films series presented by MoMA and the Film Society of Lincoln Center.  Starring Carrie Brownstein and James Mercer, the film was acquired by Palisades Tartan and will be released theatrically in the spring of 2011.”

 

(1) During your early days of filmmaking, what were the challenges, and how did you surmount? What are the onerous aspects of the filmmaker’s journey?

I get the sense that the challenges never really cease. Even when I talk to my super successful filmmaker friends, I am always surprised to hear how difficult things can be. For me, the early challenges were as simple as getting access to equipment and finding venues that would screen my work. From there, the challenges largely became more internal — wanting to grow as an artist and make work that felt like a progression, or simply arranging your life so that the demands of filmmaking are not impeded on by other lifestyle choices. But I think the challenges are almost always there, from being frustrated because you want to make something, but lack the resources, to having made something, but being disappointed with how it turned out or was received. And then there is the whole “how am I going to make a living?” to boot. I think as a filmmaker, you just have to deal with it, and understand that there are challenges around every corner.

(more…)

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