DINCA » experimental film

7 Frames: Peyote Queen (1965) by Storm de Hirsch

Andrew Rosinski — Wed, 28 Apr 2010 06:51:33 +0000

7 still frame film scans from “Peyote Queen.”

Peyote Queen | Film Review

Ben Russell: Black and White Trypps Number Four

Andrew Rosinski — Mon, 30 Nov 2009 13:53:44 +0000

(10:30, 16mm, B/W, sound, 2008 )

Divisible stand up comedy from beyond the grave, adjust your set, rabbits ears tuned to the Bardo Plane.” – Mark McElhatten, Rotterdam International Film Festival

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

1 800 585 1078 (FEAR)

Andrew Rosinski — Tue, 10 Nov 2009 06:54:27 +0000

We love Deborah Stratman. 1) She’s from Chicago. 2) She experiments with film and other forms of media/technology. The following is a brilliant concept:

Straight from Pythagoras Film:

In fall of 2003, business cards were freely dispensed at 30 pay phone booths around the city of Chicago. The cards invited participants to dial a toll-free number and describe what they were most afraid of. The toll-free number was operational for two months and resulted in over 200 responses, which were then compiled onto an audio CD and broadcast on WLUW (88.7fm).

The toll free FEAR number has since been reinstated and remains open for submission. Call now! 1 800 585 1078

The relationship between safety and fear is a cyclical one. Desire for safety leads us to build gated communities, post surveillance cameras and enlist security patrols to protect ourselves from breach by an unknown. In the process, we sever ourselves from the unexpected, from the accidental, from others not like us. The less we encounter them, the less we know and understand them. The less we know and understand them, the more we fear them. The more we fear them, the more we fortify ourselves. It is a fundamentally unhealthy relationship, as our fears so often animate our decisions.

As our administration employs increasingly reactionary policies, where a fearful, suggestible citizenry is desirable, it becomes more important to question what that fear is.

The calls are really interesting. The callers are candid; some are truthful and disclose their fear of bats, spiders, people lurking in the dark seeking to cut others, defaulting on loans, the abyss (like the ocean or outer-space), relationships, or swarms of insects and other species. Others joke around with it. Some talk about sports. Many say they’re afraid of failure.

Click here to listen to the phone calls.

And remember: The toll-free number has been reactivated

Call 1 800 585 1078 tonight.

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Harry Smith: Film No. 3: Interwoven

Andrew Rosinski — Wed, 30 Sep 2009 07:06:44 +0000

1947-’49, 16mm, 3 minutes

For more, check out a previous Dinca post titled Harry Smith Artwork and Animations.

Everything is Terrible: The Movie

Andrew Rosinski — Mon, 28 Sep 2009 15:16:10 +0000

Everything is Terrible: The Movie will play at Chicago’s Music Box Theatre starting 9 Oct 2009.

Synopsis: The online video visionaries behind EverythingIsTerrible.com proudly PRESENT EVERYTHING IS TERRIBLE: THE MOVIE! The fine folks at EIT have spent years digging through thrift establishments and video caverns in order to create the most mind-melting VHS mash-up imaginable. Literally thousands of hours of video gold have been chopped up into millions of pieces and glued back together into surreal resurrections. EVERYTHING IS TERRIBLE: THE MOVIE remixes your favorite videos with hilarious never-before-seen clips to create an audiovisual experience you’ll never forget! Complete with exclusive shorts, special guests, and a full-length favorite from the EIT archives.

Below are five of my favorite Everything is Terrible shorts: Beanie Baby Beanie Baby, Flirting with Magic, The Stinger, News Guys on the Next Block, and Los Angeles.

Beanie Baby Beanie Baby

Flirting with Magic

The Stinger

New Guys on the Next Block

Los Angeles

Upcoming theatrical screenings:

September 25- Austin, TX
Alamo Drafthouse Lake Creek

September 26- Houston, TX
Alamo Drafthouse West Oaks

October 9- Chicago, IL
Music Box Theatre

Or you can purchase the DVD by visiting everythingisterrible.com

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Video Weavings by Stephen Beck

Andrew Rosinski — Tue, 22 Sep 2009 15:51:53 +0000

“I believe in spiritual technology.” — Stephen Beck

Have you been weaved? What are you waiting for?

Stephen Beck on his video weavings (1973-1976):

My work is to make something beautiful with technology. I believe in spiritual technology. Video Weavings is a link between the modern (video) and the ancient (weaving) technologies. Video Weavings are based on poetic mathematical rhymes, or algorithms, visualized in real time on the warp and weft of video’s horizontal and vertical scanning electron beams, color phosphors, plasma cells, and LCD pixels.
In my Video Weavings, millions of patterns appear, many of which resemble or replicate the same patterns found in textiles woven by ancient peoples such as the Pueblos of the southwestern North American continent, the Nairobi of Africa, the Hindu of India, the Aborigines of Australia, and by many peoples in China and Japan.
The idea, then, for Video Weavings is to reflect upon, acknowledge and honor the links between the most modern electronic visual display systems, and the ancient art of weaving, though the common connection of the matrix.

Stephen Beck’s video weavings play on the jumbo screen at Shea Stadium in New York

For more on his video weavings, visit Stephen Beck’s website.

Cory Arcangel | Video Ravings

Negativland: Creative Anti-Corporate Activism

Andrew Rosinski — Fri, 18 Sep 2009 14:34:17 +0000

Three films by Negativland including Gimme the Mermaid, The Greatest Taste Around, and Mashin’ of the Christ.

ABOUT NEGATIVLAND

Since 1980, the 4 or 5 or 6 Floptops known as Negativland have been creating records, CDs, video, fine art, books, radio and live performance using appropriated sound, image and text. Mixing original materials and original music with things taken from corporately owned mass culture and the world around them, Negativland re-arranges these found bits and pieces to make them say and suggest things that they never intended to. In doing this kind of cultural archaeology and “culture jamming” (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement. Over the years Negativland’s “illegal” collage and appropriation based audio and visual works have touched on many things – pranks, media hoaxes, advertising, media literacy, the evolving art of collage, the bizarre banality of suburban existence, creative anti-corporate activism in a media saturated multi-national world, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, and artistic and humorous observations of mass media and mass culture.

Gimme the Mermaid

The Greatest Taste Around (1997)

While it is true that, after being sued, Negativland became more publicly involved in advocating significant reforms of our nation’s copyright laws, Negativland are artists first and activists second. All of their art and media interventions have intended to pose both serious and silly questions about the nature of sound, media, control, ownership, propaganda and perception in the United States of America. Their work is now referenced and taught in many college courses in the US, has been written about and mentioned in over 150 books (including “No Logo” by Naomi Klein, “Media Virus” by Douglas Rushkoff, and various biographies of the band U2), cited in legal journals, and they often lecture about their work here and in Europe.

Since 1981, Negativland and an evolving cast of characters have operated “Over The Edge,” a weekly radio show on KPFA FM in Berkeley, California. “Over The Edge” continues to broadcast three hours of live, found sound mixing every Thursday at midnight, West Coast time, with online access. In 1995 they released a 270-page book with 72-minute CD entitled “Fair Use: The Story of the Letter U and the Numeral 2.” This book documented their infamous four-year long legal battle over their 1991 release of an audio piece entitled “U2″. They were the subjects of Craig Baldwin’s 1995 feature documentary “Sonic Outlaws” and created the soundtrack and sound design for Harold Boihem’s 1997 documentary film “The Ad And The Ego,” an excellent in-depth look into the hidden agendas of the corporate ad world and the ways that we are affected by advertising. In 2004 Negativland worked with Creative Commons to write the Creative Commons Sampling License, an alternative to existing copyrights that is now in widespread use by many artists, writers, musicians, film makers, and websites. In 2005, they released the elaborately packaged “No Business” (with CD, 15,000 word essay, and custom made whoopie cushion), and debuted “Negativlandland” – a large visual art show of over 80 piece’s of their “fine art” works, video, and home-made electronic devices, at New York City’s Gigantic Art Space. That exhibit continues to travel and appear around the country. More recently Negativland have been touring a new performance piece called “Its’ All In Your Head FM,” a two-hour-long audio cut-up mix about monotheism, the supernatural God concept, and the all-important role played by the human brain in our beliefs. Christianity and Islam are the featured religions, as Negativland asks it’s audience to contemplate some complex, serious, ridiculous, and challenging ideas about human belief in a show best described as “documentary collage.” In 2007 Negativland released “Our Favorite Things,” a feature-length DVD collection of their many collaborative film and video projects, and was invited to joined the advisory board of a progressive Washington DC-based intellectual property lobbying group called digitalfreedom.org.

Negativland biography lifted from Negativland.com

Mashin’ of the Christ

Negativland is interested in unusual noises and images (especially ones that are found close at hand), unusual ways to restructure such things and combine them with their own music and art, and mass media transmissions which have become sources and subjects for much of their work. Negativland covets insightful humor and wackiness from anywhere, low-tech approaches whenever possible, and vital social targets of any kind. Foregoing ideological preaching, but interested in side effects, Negativland is like a subliminal cultural sampling service concerned with making art about everything we aren’t supposed to notice.

Reviews:

Negativland, longtime advocates of fair use allowances for pop media collage, are perhaps America’s most skilled plunderers from the detritus of 20th century commercial culture… — Wired Magazine

Declared heroic by their peers for refashioning culture into what the group considers to be more honest statements, Negativland suggests that refusing to be original, in the traditional sense, is the only way to make art that has any depth within commodity capitalism — The New York Times

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Fetishitic Scopofilia (1985) by Alicia Nogueira

Andrew Rosinski — Wed, 09 Sep 2009 14:03:31 +0000

Alicia Nogueira, 1985, video, 2 min, color, sound

’80s video art featuring abstractions between goldfish, high heels, arm wrestling, and the female figure.

Computer Art Parakeet

The Subconscious Art of Graffiti Removal

Andrew Rosinski — Mon, 24 Aug 2009 16:03:27 +0000

A film by Matt McCormick

16mm/Digital video – 16 minutes – 2001 (excerpt from the film)

The Subconscious Art of Graffiti Removal is an award winning experimental documentary form Portland-based filmmaker and artist Matt McCormick. The film won first place at the Black Maria Film Festival, best short film at the Ann Arbor Film Festival, and won the grand prize at the San Francisco International Film Festival. Also of note, the film screened at Sundance, South by Southwest, The Seattle International Film Festival, The New York Underground Film Festival, and the Chicago Underground Film Festival. RIYL the documentary film of Chris Marker.

Miranda July narrates in this abstract documentary.

SYNOPSIS:

It is no coincidence that funding for “anti-graffiti” campaigns often outweighs funding for the arts. Graffiti removal has subverted the common obstacles blocking creative expression and become one of the more intriguing and important art movements of our time. Emerging from the human psyche and showing characteristics of abstract expressionism, minimalism and Russian constructivism, graffiti removal has secured its place in the history of modern art while being created by artists who are unconscious of their artistic achievements.

Production of The Subconscious Art of Graffiti Removal took approximately six months and was completed in January 2001. Shooting was done primarily in Portland, Oregon and other pacific northwest locations. The piece was shot in both 16mm film and digital video, and post-production was completed with desktop editing and animation software.

Narrator: Miranda July

Bicyclist: Tasha Christensen

Cinematography, editing, and sound design: Matt McCormick

Computer animation: Topher Sinkinson

Original ideas: Avalon Kalin

Written and directed: Matt McCormick

More:

Rodeo Film Company

The Dinca Experimental Film/Video Portal

2009 Interview w/ Filmmaker Deborah Stratman

Andrew Rosinski — Fri, 21 Aug 2009 20:53:53 +0000

On the Various Nature of Things (1995)

Deborah Stratman is a Chicago-based artist and filmmaker whose work plies the territory between experimental and documentary genres. Her films and frequent work in other media, including photography, sound, drawing and sculpture often explore the history, uses, mythologies and control of highly varied landscapes: from Muslim Xinjiang China, to rural Iceland, to gated suburban California. She recently completed a series of works that collectively address concepts of the paranormal in the information age and is presently working on a new film about the milieu of elevated threat, patriotism, wilderness and the possibility of transcendence.

O'er the Land (2008)

1. You’ve been a successful filmmaker. O’er the Land, your most recent film, was one of the few experimental films to screen at the 2009 Sundance Film Festival — O’er the Land also won Best Experimental Film at the 2009 Ann Arbor Film Festival and had its European Premiere at the Rotterdam Film Festival — in the past, your film In Order Not To Be Here won awards at the Humboldt International Film Festival, the Chicago Underground Film Festival, and (again) at the Ann Arbor Film Festival.

Has success altered your outlook and optimism as a filmmaker? Creatively, does it affect your vision as filmmaker, knowing that your next film will be watched by the world? How does success help you as a filmmaker; and, is it ever a hindrance, such as making you more self-conscious about the next film you are going to make?

I don’t think success is as much of a hindrance as the fact that when you gain knowledge and skill, you lose a certain naïve fearlessness. This can be crippling. so I try to keep taking conceptual/aesthetic risks, and to shake the self-consciousness that comes with experience. Public success might create obstacles in terms of the expectations you place on yourself to live up to some ephemeral bar set by whatever you last completed. Personally, that kind of public scrutiny barely registers compared to what I manage on my own. The ‘we-are-our-own-worst-critics’ syndrome.

Has ‘success’ altered my outlook/optimism…sure. Getting recognition for what you make is always encouraging. But I also love my films that never received a peep of praise, and will keep starting projects no matter how they eventually land in the world.

In Order Not to Be Here (2002)

2. Seemingly you prefer film. Examining your filmography (pythagorasfilm.com), I counted a 9-7 tally in favor of film. Some say HD video is becoming the new standard, and the cost of shooting a film on HD video is cheaper than shooting on 16mm film.

In the future, do you see yourself making more films with video vs. film? If so, will you opt for HD or SD video? What particular qualities, or pros/cons, do you associate with the two formats?

I prefer film, but not stridently. I shoot an almost equal amount of video and 16mm. The circumstances of each project prescribe its format. I’ll adapt to mediums as they change, especially as it’s becoming harder and harder to get a decent 16mm print. All of the great timers and printers and optical track technicians are retiring without being replaced. By the time they’re all gone, I hope HD gear and post facilities will have plummeted in price and then I’ll switch over in earnest. But if 16mm film remained accessible, or if I could afford to produce work in 35mm, I would stick with film. I prefer the material over the virtual, I prefer the speed of cutting on film which is closer to my native thinking speed (slow), and I’ll always prefer rear-illuminated celluloid to projected electronic scanning.

On the Various Nature of Things (1995)

3. Technology, it’s everywhere; humans are wired more than ever. Stan Brakhage, to a certain extent, denounced technology, stating it had many negative side effects.

To quote Alan Beck, “At what point did our computers go from being a tool to enhance our lives to a medium through which to live our lives?”

Let’s say your strolling in the Lincoln Park neighborhood of Chicago — it’s very possible you might see some serious technology multitasking — a dude, bluetooth headset in his right ear, in the midst of a phone call; left ear, earbuds, rocking out to the new Katy Perry album. In addition to that, in his right hand he holds his iPhone/Blackberry and he’s looking up Katy Perry tickets with a 3G internet connection; left hand, he holds a idle netbook; under his arm he holds an idle Kindle.

Like it or not, the fact is us humans will share our future lives with technology. How should we use it, how often should we use it, and when should we eliminate it from our lives? And for artists and filmmakers, when does it hurt and help one’s art, and how do you think technology will it affect the future of filmmaking + art?

If you are an artist, you more than likely employ some form of technological interface. Wood, paint, metal, fiber, glass, instruments… even words can been understood as tools. In this sense, technologies are bridges between minds (the artist’s and the observer/listener). So to me, utilizing technology is nothing new, it’s how art has always worked. But certainly, the site and frequency at which our lives can be interrupted has changed radically since cell phones, portable computers and the like arrived on the scene.

As I see it, there’s been a major paradigm shift, on the same order as when radio and records first became available. It was a big deal when sound first became disassociated with place (radio), and then later with place and time (records). Before that, sound had for millennia been associated with something live, and something close enough to hear. The sonic defined the ‘here and now’ in a concrete way. The rise of spiritualism concurrent with the advent of radio and telephony was no accident. Suddenly, the dead could return to life. Distances collapsed. Voices were being pulled from the ether.

The advent of the cell phone has meant not only that we can now walk freely in a HERE while talking into a THERE, but more radically, that our HERE can be interrupted at any time by a THERE. And there’s always a strong desire to respond to that call, a sense that connecting to a THERE is more urgent, perhaps more LIVE than what surrounds one physically. It’s a strange shift that I admit I’ve yet to acclimate to. I resist the way these new technologies make us always reachable. Personally, I enjoy being lost, or off the grid, or whatever you’d like to call it. And no, I don’t have a cell phone. I know, it’s archaic, and a bit stubborn. Maybe my genetic makeup is just better suited to a slower era. All of this is not to say that I don’t absolutely enjoy the pleasure of working within a highly technological medium that allows me to manipulate time and space. There’s no comparison. It’s really a kind of magic.

The BLVD (2002)

4. What is your favorite beer and why?

I like a good pilsner, the czech Urquell is nice, or Becks. But I’m more of a whiskey/tequila supporter, Jameson/Cazadores, respectively. I was just in Scotland this summer and bought some righteous single malts.

O'er the Land (2008)

5. If you’re comfortable with sharing, please tell us about your future projects, what to expect from them, and what inspired each.

I’m in sub-saharan Africa right now, shooting a short experimental documentary that was a mini-commission for the Rotterdam film festival. I’m focusing on Malawi, and how culture propagates here. I’m guessing it will be around 15 or 20 minutes, shot hand-held on miniDV. Apart from that, I’m mid-way through editing a short 16mm documentary portrait of a bird of prey facility in northern England that I shot this summer. That will be around 6 minutes. And I am supposed to be making a short video about comets for a DVD that Mike Plante (Cinevegas) and Mark Rosenberg (Rooftop Films) are putting together called ORBIT – basically a bunch of filmmakers making work about the planets using NASA footage. There’s also a longer 16mm film about recondite Illinois history that I’ve been working on for a couple of years. It keeps getting pushed aside for various reasons, but in the next few months I’ll try and get back to it, once all these little upstart films are out of the way…

O'er the Land (2008)

6. What is the key to an artist’s success:

A) Networking; who you know and who they know.
B) How much money you can acquire to fund a extravagant vision (e.g. Jeff Koons’ upcoming $25 million sculpture, where he’ll suspend a working locomotive a hundred or so feet in the air, dangling from a construction crane).
C) Sticking with your individual vision.
D) Hard work.

E) For me, it comes down to RESILIENCE AND PASSION.

(stubbornness, curiosity, self-confidence, grace and entrepreneurial spirit don’t hurt either)

Energy Country (2003)

7. Let’s say you’ve been stranded on a remote island for three years. A genie appears and tells you he will take return you home only if you list your top 5 films in order. How would you respond?

I’d say, “You’ve got to be kidding me. That’s the worst question ever. This island is actually not so bad”. Okay, then I might fumble around and try and come up with some films that maybe were at one time, under certain circumstances, my favorites, but will always fall short of representing a pantheon of ‘the best’. And in no way can be listed in order. Since you ask, here are five. But if you ask me again tomorrow, I’d give you a different list: Agnes Varda’s “Vagabond”, Barbara Loden’s “Wanda”, Bruce Conner’s “A Movie”, Jean Rouch’s “Jaguar”, Georges Franju’s “Judex”.

It Will Die Out in the Mind (2006)

8. What visuals and/or animals come to mind when you hear the word Dinca?

Small African rodent with big ears.

◊

Stratman teaches in the School of Art & Design at the University of Illinois at Chicago. Interviewed by Andrew Rosinski during the month of August, 2009.

More:

Pythagoras Film | Deborah Stratman’s Portfolio

Deborah Stratman’s Filmography

NY TIMES: ART IN REVIEW; George Kimmerling Deborah Stratman

Cinemad Interview with Deborah Stratman

Deborah Stratman Essay by David Clark

Introducing the Dinca Experimental Film Portal

Andrew Rosinski — Thu, 20 Aug 2009 17:52:57 +0000

As part of an ongoing process the optimize the Dinca site, we introduce the Dinca Experimental Film Portal. The concept is simple: Every Dinca post that contains a video will be added to the film portal page and categorized appropriately. This will keep things organized and save you time from searching through a long chain of posts. Please feel free to submit special requests for short films you wish to see and please provide feedback on our site design. Thxxx!

ENTER THE DINCA FILM PORTAL.

Wet Jeans (2008)

Andrew Rosinski — Thu, 13 Aug 2009 16:01:18 +0000

Andrew Rosinski, 2008, US, fnd 16mm, 1 min, color, sound

Here is a film I made about a year ago as part of a class excercise.

No related posts.

That’s Hot | ’80s Video Art

Andrew Rosinski — Tue, 11 Aug 2009 15:45:32 +0000

Video art from the early ’80s – an ocean of technicolored bits + shapes. Plenty of rainbow gradients and tracer images. A fun ride.

Video by G.G. Aries
Edited by: G.G. Aries & Mark Allen
Music by: Larry Gibbs from California Images

Election Collectibles by Bryan Boyce

Andrew Rosinski — Mon, 10 Aug 2009 15:15:26 +0000

Oh my gosh, we have triple pay on this.

This video is brilliant and is chocked full of perverse artifice.

Bryan Boyce, a San Francisco-based experimental filmmaker, employs astute image/audio juxtapositions by combining 2000 campaign footage of Al Gore and George W. Bush with found audio from late-night TV infomercials. Artificial animated mouths are superimposed on both Gore and Bush — seemingly the presidential canidates sermonize a sales pitch for an overpriced election 2000 collectible light-box (which clearly is made from construction paper, adhesive metallic stars, and other dirt-cheap arts/crafts materials).

The best part of this vid is that it enables absurd audio taken from the late-night cutlery basement infomercial (you know, the katana sword dudes) and, through effective application, it sheds light on an American truth about the QVC party, it’s a super big party, where they party for profit motive during election time. Remember the Obama commemorative plates that popped up shortly after his election win?

Election Collectibles sums up our epoch of millennial consumerism, which, of course, is rife with dirty, dirty infomercials.

Elections Collectibles is available for purchase on Peripheral Produce’s Greatest Hits compilation DVD, which also features work from Deborah Stratman, Miranda July, and Animal Charm. View more on the release here.

Cory Arcangel | Video Ravings

Andrew Rosinski — Thu, 06 Aug 2009 14:53:11 +0000

Brooklyn-based Cory Arcangel is a self-described personal computer lover and an internet lover. Best know for his video cartridge hackings, Cory’s work has shown at the Whitney Museum, New York; the Museum of Modern Art, New York; Space1026, Philadelphia; the Migros Museum, Zurich; Team Gallery, New York; and Thaddaeus Ropac Gallery, Paris. Below are three more Cory Arcangel videos:

Super Mario Movie Part II
Adult Contemporary | T Pain
Arnold Schoenberg, Op. 11 – II

Video Ravings Synopsis: Created as an installation, Video Ravingz is a hacked version of Super Mario Bros. 2 where the user wins the game simply by inserting the cartridge. With rave-style graphics and music, there’s an air of celebration about this work because everyone’s a winner.

Do you recognize the yacht rock song? Is it Toto? 10cc? I can’t remember.

Cory Arcangel – Super Mario Movie Part II

Synopsis: Created as an installation, Super Mario Movie is a 15 minute long movie made on a Super Mario Brothers Cartridge.

As a video game grows old its content and internal logic deteriorate.
For a character caught in this breakdown problems affect every area of life.

Adult Contemporary | T PAIN

Synopsis: T PAIN + rainbow roll gradients.

Arnold Schoenberg, op. 11 – II

Synopsis: Mutliple cats play piano in Cory Arcangel’s Arnold Schoenberg, op. 11 – II.

::::::::::

Visit the Cory Arcangel web portal

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8 Films by Animal Charm

Andrew Rosinski — Mon, 27 Jul 2009 19:01:06 +0000

Stuffing by Animal Charm

Nothing is safe from Animal Charm: They’ll eat garbage and cough up an avant garde gem.

Animal Charm is the found footage collaborative of Rich Bott and Jim Fetterly. Gleaning outdated footage from VHS and Beta Max tapes that’d you find at a garage sale or your local Goodwill, Bott and Fetterly deconstruct then construct absurd, experimental videos that they piece together with heavy visual looping, manipulative editing, and sometimes abrasive audio looping. Bott and Fetterly really get off by subverting the original intentions of their source material — corporate videos, consumer instructional videos, Hollywood movies, jewelry videos, and so forth — have all been used and abused by Animal Charm. Nothing is safe.

Animal Charm employs a special combination of jump cuts paired with bizarre image/audio loops, which results in an arousal of emotional responses — hypnotic, psychedelic, surreal — some viewers that are sheltered from avant-garde cinema may become annoyed, but it’s the unpredictable humor and feverish montages that make the films of Animal Charm a must see for fans of the avant-garde cinema.

Below are seven more films from Animal Charm, including Family Court, Slow Gin Slow Stallion, EDGE TV, Mark Roth, Computer Smarts, Getting Ready to Use Your VCR, and New Yoga I. You can purchase Animal Charm’s anthology, Golden Digest, through Facets Videotheque and Other Cinema DVD. Additional films by Animal Charm can be purchased through the Chicago-based Video Data Bank.

Family Court by Animal Charm

Family Court and Slow Gin Slow Stallion are featured on Animal Charm’s Golden Digest anthology.

Slow Gin Soul Stallion by Animal Charm

EDGE TV by Animal Charm

EDGE TV is featured on DVD, via Cinemad: Almanac 2009.

Mark Roth by Animal Charm

Computer Smarts by Animal Charm

Computer Smarts is featured on Animal Charm’s Golden Digest anthology.

Getting Ready to Use Your VCR by Animal Charm

New Yoga I by Animal Charm

I’m not absolutely positive that New Yoga I was made by Animal Charm. It’s possible there is a youtube impostor out there. Can someone please verify?

Stayed tuned, for Dinca will be posting more videos by Animal Charm.

MORE:

The Official Youtube page of Animal Charm

Find more Animal Charm Video Clips at the Video Data Bank

Cinemad review of Animal Charm’s Golden Digest

Kokomo Video | Bag of Weed Face

Andrew Rosinski — Thu, 28 May 2009 02:38:10 +0000

Quite the sticky vision.

Let’s follow up with a wacky Black Dice video that’s heavy on the color-keying.

Kokomo by Black Dice

No related posts.