DINCA » experimental film

Walt Disney’s Taxi Driver (2011) by Bryan Boyce

Andrew Rosinski — Wed, 09 May 2012 19:47:32 +0000

Walt Disney’s Taxi Driver, Bryan Boyce, 2011, 4 min, color, sound

Clever appropriation and frame manipulation results in a droll amalgamation of disney motifs within the bounds of Martin Scorsese’s Taxi Driver (1976), a short found-footage film that follows a “Mickey Mouse-obsessed Travis Bickle as he looks for love in a rapidly transforming New York City.”

Walt Disney’s Taxi Driver played at the 50th annual Ann Arbor Film Festival and won the Prix DeVarti award for Funniest Film. The film will also play at the upcoming Chicago Underground Film Festival.

Election Collectibles by Bryan Boyce

Bryan Boyce’s YouTube Channel

50 AAFF

Undergrowth (2011) by Robert Todd

Andrew Rosinski — Wed, 04 Apr 2012 15:54:41 +0000

Undergrowth
by Robert Todd
2011, 12 min, 16mm, color & b/w, sound

Feathers, foliage, flowers, tree bark. Through the eyes of a blind owl, Robert Todd’s Undergrowth (2011) saunters through the woods, craws under brush, climbs trees and branches, and channels the Great sentient Spirit of the woods.

Undergrowth played in one of the best programs at the 50th AAFF: Films in Competition 4. Undergrowth won the Kodak/Colorlab Award for Best Cinematography at the 50th Ann Arbor Film Festival.

Robert Todd’s website

Robert Todd on vimeo

Ann Arbor Film Festival Animated .gifs Part 2 (American Falls by Phil Solomon)

Andrew Rosinski — Fri, 30 Mar 2012 17:20:38 +0000

AMERICAN FALLS
Phil Solomon, US, 2010, 56 min, three channels, color, sound
March 25 – April 2, 2012
Work Gallery | 306 State Street | Ann Arbor, MI 48104 (map)

Here are a few glimpses of the beautiful installation of Phil Solomon’s American Falls at the Work Gallery in Ann Arbor, Michigan, as part of the 50th annual AAFF.

If you’re in the area, surely don’t miss American Falls at the Work Gallery, which runs until Monday, April 2.

Tonight — March 30, 2012 — Phil Solomon will present and discuss a program dedicated to his films at 9:15pm at the Michigan Theater.

Films by Phil Solomon

American Falls at the AAFF

Phil Solomon’s website

50th AAFF Schedule.

(animated .gifs compiled by Theodore Darst.)

DINCA Coverage of the 50th Annual Ann Arbor Film Festival

Andrew Rosinski — Tue, 27 Mar 2012 12:07:32 +0000

DINCA will be in Ann Arbor, Michigan, from 3.28–4.1, reporting on the 2012 Ann Arbor Film Festival.

Today is the first day of the 50th annual Ann Arbor Film Festival. The AAFF has a superlative lineup of events this year, with over 200 independent and experimental works, including new work by Deborah Stratman, Ben Rivers, Ben Russell, Michael Robinson, David Gatten, Laida Lertxundi, Kerry Laitala, Scott Stark, Mary Helena Clark, Fern Silva, Bobby Abate, Jodie Mack, Evan Meaney, and many more, plus some very special treasures and gems from avant-garde cinema.

If you’re in midwest, this is a week of events worth road-trippin’ to; if you’re not in the midwest, this is a week of events worth road-trippin’ to.

The 50th AAFF will include special programs of work by Peter Rose, Robert Nelson, Barbara Hammer, Michael Robinson, a juror presentation by Kathy Geritz, Phil Solomon, Paul Clipson, a Leighton Pierce gallery walkthrough, and three Bruce Baille retrospectives.

As part of the AAFF’s 50 Screen initiative, Phil Solomon has installed his “American Falls” installation at the Work Gallery; Leighton Pierce has installed his “Threshold of Peripheral Induction” at the University of Michigan’s Slusser Gallery; and the Michigan Theater installations, the Gallery Project exhibition, the Nickels Arcade exhibition feature plenty more treats.

More on the AAFF’s 50 Screen Initiative:

The 50th Ann Arbor Film Festival presents 50 SCREENS, a city-wide series of free film, video and moving image installations. Throughout film festival week local, national and international artists will illuminate more than fifty screens in galleries, theaters, shops, outdoor locations and non-traditional screening spaces in Ann Arbor. The intention of this expansion beyond traditional cinema screenings is to more widely engage the public with film as an art form in celebration of the 50th Ann Arbor Film Festival, taking place March 27 – April 1, 2012.

As aforementioned, DINCA will be in Ann Arbor reporting on the AAFF from Wednesday, March 28 – Sunday, April 1, 2012. Andrew Rosinski and Theodore Darst will be representing DINCA; if you, too, are at the AAFF, let us know.

This week on dinca.org is AAFF week, so stayed tuned for some interesting coverage of the festival — also checkout our twitter profile for some menial updates — dinca.org, dedicated to disseminating Sacred Visions 2 U.

2012 AAFF Schedule

AAFF 50 Screens schedule & overview

AAFF: 50 Screens

2012 Vimeo Festival + Awards: Last Day To Submit + New Judges Added

Andrew Rosinski — Mon, 20 Feb 2012 19:33:14 +0000

Today — February 20, 2012 — is the last day to submit your work to the 2012 Vimeo Festival + Awards. The submission process is simple, and if you already have your work hosted on Vimeo, and if you have an existing paypal account, this is an easy-breezy process that takes minutes.

Entrants can submit any original work as long as it premiered online between July 31, 2010 and February 20, 2012, or any original work that has never premiered anywhere. The winner of each category receives a grant of $5,000 and the Grand Prize winner receives a $25,000 grant to produce new work.

Click here to submit. You have until 11:59pm on 2.20.2012.

It was recently announced that Peter Greenaway (A Zed & Two Noughts, 1985) will be a judge of the experimental category, and Steve James (Hoop Dreams, 1994, The Interrupters, 2011) will judge the documentary category.

The panel consists of three judges per category across 13 categories, and includes actor and director James Franco; Parks and Recreation Star Aziz Ansari, 2012 Oscar Nominee Lucy Walker; Radiohead’s Colin Greenwood; Scott Pilgrim vs. the World director Edgar Wright; snowboard superstar Travis Rice; Thierry Mugler and UNIQLO creative director Nicola Formichetti; Shelly Page of DreamWorks Animation; Barbara London of The Museum of Modern Art; advertising legend David Droga; and many more.

The current list of judges includes:

Action Sports

Advertising

Animation

Captured

Documentary

Experimental

Fashion

Nick Knight
Nicola Formichetti
Humberto Leon, Opening Ceremony+Kenzo

Lyrical

Motion Graphics

Music Video

Narrative

Original Series

Remix

Beardyman
David Dewaele, 2manydjs + Soulwax
Kasumi

7 Question Interview with Jeremy Boxer, Vimeo Festival

2012 Vimeo Festival + Awards

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

Andrew Rosinski — Wed, 14 Dec 2011 01:33:12 +0000

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.

————> Submit

2012 Vimeo Festival + Awards

Jeremy Boxer on Vimeo

Submit : : 2012 Vimeo Festival + Awards

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

Andrew Rosinski — Sun, 30 Oct 2011 23:14:26 +0000

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

Fiorucci Made Me Hardcore (1999) by Mark Leckey

Andrew Rosinski — Mon, 26 Sep 2011 17:17:58 +0000

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

Mark Leckey: Wikipedia

Mark Leckey: Rhizome Interview

Turner Prize Winner Mark Leckey

Loretta (2003) by Jeanne Liotta

Andrew Rosinski — Thu, 15 Sep 2011 15:31:15 +0000

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

Jeanne Liotta’s website
Jeanna Liotta on vimeo

Jeanne Liotta: artist & believer.

Harry Smith’s Birthday Party by Allen Ginsberg

Andrew Rosinski — Wed, 10 Aug 2011 05:03:42 +0000

“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.)

Frames: The Coming Race (2006) by Ben Rivers

Andrew Rosinski — Wed, 29 Jun 2011 03:44:37 +0000

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.

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

Andrew Rosinski — Mon, 30 May 2011 07:17:54 +0000

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.

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

Andrew Rosinski — Wed, 25 May 2011 16:33:31 +0000

All Through the Night, Michael 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

Michael Robinson’s website

Frames: At Sea (2007) by Peter Hutton

Andrew Rosinski — Mon, 16 May 2011 06:44:38 +0000

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

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

Andrew Rosinski — Fri, 29 Apr 2011 05:25:00 +0000

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

Andrew Rosinski — Wed, 20 Apr 2011 13:36:45 +0000

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.

(2) You recently completed your first feature film, Some Days are Better Than Others (2010), which stars James Mercer and Carrie Brownstein, and premiered at the 2010 SXSW. Please tell us of the process of making your first feature film — all the toil, from conception to distribution.

It was a long haul. I began writing the screenplay as far back as 2003 or so and got really serious about it in 2006. It was a multi-step process that ping-ponged back and forth between purely creative challenges, such as writing and casting, to much more business like challenges, such as finding investors and creating a foundation upon which to make the film. I suppose my big ‘break’ with the project came when producers David Cress and Neil Kopp approached me about making the film. With those guys on board we started the argues process of fund raising, and then eventually casting and production. It was amazing how slow it all felt for the first several years and then the explosion of productivity once the funding was secured and we actually went into pre-production and production.

(3) Additionally, you recently completed your first feature-length documentary, The Great Northwest. How does creating a feature-length documentary film compare to making a feature-length narrative film?

I wouldn’t really call The Great Northwest a “feature length documentary.” It is much more of an artistic project or experimental documentary that just so happens to have a running time that falls within the ‘feature length’ range, but really it has more in common with my earlier films like Future So Bright and The Subconscious Art of Graffiti Removal. That said, creating The Great Northwest was about as opposite of an experience as I could imagine from making Some Days are Better than Others. With Some Days, while I was the writer and director, I was still part of a large team of filmmakers who were all pitching in to make the project. From the cinematographer to the producers to the actors to the editor, I had a great deal of help making the movie, and as a result was able to make something much larger than I could possibly do on my own. But while that larger group effort made several things possible, it could also be cumbersome. Simply put, a team effort needs organization, but then organization can often limit spontaneity.

With The Great Northwest it was the exact opposite. I literally made that film all by myself — from research to writing to camera work to editing — I was the entire crew list for that project. That obviously created a wide open door for spontaneity, but also clearly left me limited to what I could do with and in front of the camera — no grip truck to help with lighting or set up a fancy dolly move, no PAs to place extras exactly where I wanted them, and no producers creating schedules and contingency plans. There are aspects of working with a crew or by myself that I both love and hate, and while they are very different, I don’t necessarily prefer one over the other. There is great freedom while working alone, while working with a team can give you powerful options.

(4) What is your approach to distribution?

In terms of distribution, I approach each project differently. Some projects clearly need a more traditional approach to distribution, while others stand to benefit most by pursuing an alternative path. I am in a position where my films have to meet some level of financial re-coupment if I am going to be able to continue making them, so figuring out the best way to “get the work out there” while at the same time bringing in some revenue is vital. That said, I have now done just about everything from traditional theatrical-then-video release to limited edition releases sold through galleries.

(5) What is success?

A favorable or desired outcome, at least according to Merriam-Webster.

(6) What is the ultimate goal of the filmmaker?

That might be an impossible question. Keep making films? Have each film be better than the previous one? Feel like your making the world a better place? Be able to afford health insurance? I suppose those are some of my goals, but the reasons people become filmmakers are vast, so I don’t think you can pigeonhole filmmakers with a blanket goal or motivation.

(7) Churchill, Shakespeare, Bach, Bunuel — their quotes have survived the test of time — do you have an epic quote you wish to record? If so, please
share.

“Live every week like it’s Shark Week.”
— Tracy Morgan

 _______ _______ _______
|\     /|\     /|\     /|
| +---+ | +---+ | +---+ |
| |   | | |   | | |   | |
| |E  | | |N  | | |D  | |
| +---+ | +---+ | +---+ |
|/_____\|/_____\|/_____\|

Matt McCormick’s Website

Matt McCormick on Vimeo

Some Days Are Better Than Others

Watch a clip from The Subconscious Art of Graffiti Removal

The Great Northwest

Peripheral Produc

Experimental Film Achievements of the 21st Century: Avant-Garde Poll: Film Society of the Lincoln Center

The Complete Films of Fred Camper: Program Two

Andrew Rosinski — Thu, 14 Apr 2011 13:55:18 +0000

White Light Cinema Presents
The Complete Films of Fred Camper: Program Two
Fred Camper’s SN
Saturday, April 16, 2011 – 8:00pm
The Nightingale | 1084 N. Milwaukee Ave., Chicago, IL (M A P)

“White Light Cinema is extremely pleased to present these very rare public screenings of the complete films of Fred Camper. Camper has been a thoughtful and articulate writer on film for over forty years (much of his writing is available on his website) and, more recently, has been producing an astonishing body of digital artworks. His earlier filmmaking practice, however, is little known. Long out of distribution (some never in distribution), his short 16mm and Super-8mm films have not been publicly screened for decades. And this presentation of his stunning feature-length Super-8mm film SN is only its third-ever public showing. These films may not be screened again for many years, due to their irreplaceability.”
PROGRAM DETAILS:

Program Two:
Fred Camper’s SN
Saturday, April 16, 2011 – 8:00pm
SN (1984, c. 110 minutes, super-8, silent)

“SN was born out of an intense personal despair, and a desire to depict a failure of the self, coincident with my discovery of super-8 as a medium completely different from 16mm, well suited to a kind of analog for the written diary. Its images’ natural lack of illusionistic presence and authority contributes to the failure theme. The original plan for the film would have required perhaps twenty years of full time work and a great deal of money, leading to a very long film only a small part of which would have been screened each time, selections made with a controlled use of random numbers. What I show now is in ten sections, and in the eighth, on three short reels, a tiny piece of the original plan survives: sixteen shorts serve as the source for this section, and which three are screened and the order in which they are screened at each showing is determined randomly. I have no final prints of any of SN; most sections are edited workprint or edited original, and are thus not exactly as they were intended to look. Still, I believe in it as a film. In part a portrait of Manhattan’s constricted spaces, and more generally of the way humans occupy space, it also presents the failed journey of a self to organize, or become present in, the world. The film has only been screened publicly twice before, and will likely only be screened rarely in its original format in the future.” (Fred Camper)

Fred Camper has been writing and publishing on cinema since the late 1960s, and on art since the late 1980s. He has taught at a number of colleges and universities, and presented film programs throughout the world. For the last six years, he has mainly concentrated on making his own art, mostly photo based digital prints; cinema is one key inspiration. His Web site is www.fredcamper.com.

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Admission: $7.00-10.00 sliding scale

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More: Fredcamper.com

3/31/11 at 7:00pm > Ben Russell: The Artist’s Talk As A Disappearing Act (With Live Video Feed) at threewalls, Chicago, IL, USA

Andrew Rosinski — Tue, 29 Mar 2011 13:13:50 +0000

Ben Russell
The Artist’s Talk As A Disappearing Act (With Live Video Feed)
3/31/11 at 7:00pm
Threewalls, Chicago, IL, USA
119 North Peoria #2C, Chicago, IL 60607 (map)
Gallery Hours: Tuesday-Saturday, 11am-5pm

For those of you in/around Chicago this week, Ben Russell will be giving an artist’s talk/performance about his current solo show at threewalls on Thursday at 7:00pm. It is a delicious exhibit of BR’s mystic acuity. Superluminal; punk-rock; enchanting; ton-o-fun.

***

The Artist’s Talk As A Disappearing Act (With Live Video Feed)
In which the artist performs a televised lecture regarding the seven works currently on display in his solo exhibition, Uh-Oh It’s Magic. Possible topics to be discussed include: working under the influence, phenomenological states, animism, optics and subjectivity, levitation, cultural relativism, and rainbows. The notion of “losing oneself in one’s work” will be demonstrated materially during the course of the lecture and subsequent Q&A.

***
In case you haven’t yet seen the show, it’ll be up until the 23rd of April — here is what some kind souls have said about it so far (in both image and word):

8 Films by Robert Breer, 13 March, 2011, SAIC

Andrew Rosinski — Sun, 13 Mar 2011 17:40:23 +0000

8 Films by Robert Breer, 13 March, 2011, SAIC, 112 S Michigan Ave, room 1307, presented by the Experimental Film Society and curated by Fred Camper

8 Films by Robert Breer
Sunday, March 13th, 2011 @ 3PM
presented by the Experimental Film Society
Free and open to the public
SAIC, 112 S Michigan Ave, room 1307, Chicago, IL, 60603 United States of America (Map)

Last minute reminder: today, 13 March, 2011, at 3:00pm, the Experimental Film Society (much like the midnight society) will gather and share stories — the stories of Robert Breer, on 16mm — Fred Camper curates and the following films will screen:

69 (1968, 5min, color, sound)
Gulls and Buoys (1972, 7min, color, sound)
Fuji (1973, 9min, color, sound)
…TZ (1978, 9min, color, sound)
Swiss Army Knife With Rats and Pigeons (1981, 8min, color, sound)
Bang! (1986, 10min, color, sound)
A To Z (2000, 5min, color, sound)
What Goes Up? (2003, 5min, color, sound)

The event is free and is held at the SAIC, 112 S Michigan Ave, room 1307, Chicago, IL, 60603, United States of America.

More:

EFS is holding group screenings, themed screenings, and single artist screenings all semester long, at least once a week! All programs are free and shown on 16mm.

We are located in SAIC’s 112 S. Michigan Avenue. Screenings are held in room 1307 and are open to the public.
EFS will also be holding select workshops on alternative filmmaking. Check our event page to stay up to date!

Privacy Type:
Open: All content is public.

Ben Russell: Uh-Oh It’s Magic: March 11-April 23, at Threewalls, Chicago

Andrew Rosinski — Thu, 10 Mar 2011 17:41:40 +0000

BEN RUSSELL: UH-OH IT'S MAGIC

March 11th- April 23rd, 2011
three-walls.org
119 North Peoria #2C, Chicago, IL 60607 (map)
Opening reception: Friday, March 11th, 6-9pm
Artist talk: Thursday, March 31st, 7pm
Gallery Hours: Tuesday-Saturday, 11am-5pm

CHICAGO: For his SOLO exhibition Uh-Oh It’s Magic, artist Ben Russell gathers together seven instances of sound and image that speak to the varying possibilities of belief and mysticism within a global construct. Taking its title from the choral refrain of the Cars’ song Magic (1984), Uh-Oh It’s Magic points towards the persistence of a culturally Western hope/belief in the existence of Magic: a belief-in-belief that employs logic to dismantle difference-as-superstition as quickly as it drops its jaw in the presence of the technologically explicable. From the myth of Icarus to the divination rites of Malian animists, from Mexican cotton candy makers to Vietnamese martial artists, and from Icelandic drowning pools to Abbie Hoffmans’ 1967 levitation of the Pentagon, this exhibition is realized across a multitude of forms – 16mm film loops, auto-repeat records, found photographs, multi-projector installations, prisms, mirrors, heat lamps, desiccants and a transformed non-space that bathes viewers in a delirious chroma-key paint job, effectively making the gallery everywhere and anywhere at once.

In the her essay for the exhibition, Erika Balsom says: “In the art of Ben Russell, the cinema’s paradoxical status as both disinterested document and active producer of magic emerges as a fundamental preoccupation. Moving into the gallery space after an established career in filmmaking has allowed Russell to make use of an expanded array of strategies and media to explore issues he has long addressed: Do we—and should we—believe in what we see? When does the moving image seek to deceive us and when does it promise revelation? Russell imagines a global cartography of sites and sights that challenge rationality. Placing the experience of travel at the center of his practice, the artist charts culturally varying approaches to the otherworldly with the ethnographic tradition never far out of sight.”

Ben Russell Portrait #1

Ben Russell is a media artist and curator whose films, installations, and performances have been presented in spaces ranging from 14th Century Belgian monasteries to 17th Century East India Trading Co. buildings, police station basements to outdoor punk squats, Japanese cinematheques to Parisian storefronts, and Chicago bathtubs to Viennese boats. He has had solo screenings and exhibtions at the Museum of Contemporary Art Chicago, the Rotterdam Film Festival, the Wexner Center for the Arts, and the Museum of Modern Art. A 2008 Guggenheim Fellowship and 2010 FIPRESCI award recipient, Ben began the Magic Lantern screening series in Providence, Rhode Island, is co-director of the artist-run space BEN RUSSELL in Chicago, and he currently teaches in the School of Art and Design at the University of Illinois at Chicago.

Founded in 2003, threewalls’ is dedicated to increasing Chicago’s cultural capital by cultivating contemporary art practice and discourse. With a focus on the practices of local artists and administrators or visiting artists interested in regional history and culture, we aim to create a locus of exchange between local, national and international contemporary art communities that builds Chicago’s reputation as an important site for creative research and production.

threewalls operates three programs: six exhibitions per year that support local artists through SOLO and group exhibitions; a series of public programs that explore current ideas in art and culture (The Public Culture Lecture Series, threewallsSALONS and a biannual symposium on grass-roots and community organized cultural administration) and a residency that invites artists from around the world to engage in regionally site-specific research or projects. threewalls is also joint administrator of The Propeller Fund with Gallery 400 at The University of Illinois at Chicago.

threewalls is partially supported by a grant from the Illinois Arts Council, a state agency; by a CityArts Program I grant from the City of Chicago Department of Cultural Affairs; The Chicago Community Trust; The Cliff Dwellers Foundation for the Arts; ArtsWork Fund for Organizational Development; The Gaylord and Dorothy Donnelley Foundation; The Alphawood Foundation; The MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation; 3Arts Chicago; and major support is provided by The Andy Warhol Foundation for the Visual Arts. threewalls is sponsored by Pernod Absinthe.

More

Ben Russell on Vimeo

Stan Brakhage Black Leader, Anticipation of the Night (1959), via Phil Solomon, & Courtesy of Mark Toscano, Academy Film Archive

Andrew Rosinski — Wed, 02 Mar 2011 04:11:43 +0000

Black Leader from Anticipation of the Night (1959), Stan Brakhage, courtesy of Mark Toscano, Academy Film Archive

Found via Phil Solomon’s Musings; part of the Brakhage Restoration Project. The Academy of Motion Picture Arts and Sciences Film Archive is restoring the complete oeuvre of Stan Brakhage. How delicious. The beauty of Brakhage. Here is one of many treats Phil Solomon shares on his blog.

From Phil Solomon’s Musings (original post here):

The animated scratched titles on the original black leader of Brakhage’s seminal work, Anticipation of the Night, backlit over a light box at the Academy Archive.

Courtesy of Mark Toscano, who is overseeing the restoration, bless him.

Black will be restored to the Night. Darkness on the Edge of Town.

Rust Never Sleeps…

Here are some additional film stills from Stan Brakhage’s Anticipation of the Night (1959), via Fred Camper.

The Great Northwest (2011) by Matt McCormick, Feb 17–April 2, Elizabeth Leach Gallery, Portland

Andrew Rosinski — Mon, 21 Feb 2011 21:13:54 +0000

The Great Northwest
an experimental documentary / video installation by Matt McCormick
76 minutes / HD / 2011 + photography
More info and a short video excerpt can be found here.

“The Great Northwest is a 76-minute experimental documentary that explores how the visual landscape of the Pacific Northwest has changed over the past 50 years. The project is based on the re-creation of a 3,200 mile road-trip made in 1958 by four Seattle women who thoroughly documented their journey in an elaborate scrapbook of photos, postcards, brochures and receipts. Fifty years later, Portland artist and filmmaker Matt McCormick found that scrapbook in a thrift store, and in 2010 set out on the road, following their route precisely and searching out every stop in which the ladies had documented.

The urban and natural landscapes the women experienced during their trip has changed greatly since 1958. While urban centers such as Seattle, Portland, and Spokane have sprouted sky-scrappers and hefty suburban growth, other towns such as Vantage and Taft no longer exist; one being flooded by Columbia River damming and the other paved over by Interstate 90. Development, damming, industry, and construction of the Interstate Highway System have moved mountains and rivers as well as towns and communities. Yet many aspects of the Pacific Northwest appear relatively unchanged. Carefully preserved towns such as Wallace, Idaho, and steadfast tourist attractions such as the Oregon Coast’s Sea Lion Caves seem almost stuck in time except for perhaps a few new layers of paint.

The film is a meditative look at these changes while also becoming it’s own scrapbook-like document. With a very patient and observational approach, the film compares and contrasts the 1958 landscape with that of the present day while celebrating the enduring features of the Pacific Northwest. It is a lyrical time capsule that explores the fragility of history.”

The Great Northwest was funded in part by a 2010 Regional Arts and Culture
Council Project Grant and the 2011 Oregon Art Commission Media Arts
Fellowship.

Runs February 17-April 2
Elizabeth Leach Gallery
417 N.W. 9th Avenue Portland
www.elizabethleach.com

DINCA » experimental film

Walt Disney’s Taxi Driver (2011) by Bryan Boyce

Undergrowth (2011) by Robert Todd

Ann Arbor Film Festival Animated .gifs Part 2 (American Falls by Phil Solomon)

DINCA Coverage of the 50th Annual Ann Arbor Film Festival

2012 Vimeo Festival + Awards: Last Day To Submit + New Judges Added

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

————> Submit

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

Fiorucci Made Me Hardcore (1999) by Mark Leckey

Loretta (2003) by Jeanne Liotta

Jeanne Liotta: artist & believer.

Harry Smith’s Birthday Party by Allen Ginsberg

Frames: The Coming Race (2006) by Ben Rivers

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

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

Frames: At Sea (2007) by Peter Hutton

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

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

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

The Complete Films of Fred Camper: Program Two

3/31/11 at 7:00pm > Ben Russell: The Artist’s Talk As A Disappearing Act (With Live Video Feed) at threewalls, Chicago, IL, USA

8 Films by Robert Breer, 13 March, 2011, SAIC

Ben Russell: Uh-Oh It’s Magic: March 11-April 23, at Threewalls, Chicago

Stan Brakhage Black Leader, Anticipation of the Night (1959), via Phil Solomon, & Courtesy of Mark Toscano, Academy Film Archive

The Great Northwest (2011) by Matt McCormick, Feb 17–April 2, Elizabeth Leach Gallery, Portland

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