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THE
INTERNATIONAL EXPERIMENTAL CINEMA EXPOSITION
OFFICIAL
PROGRAM 2001
TELLURIDE, COLORADO
OCTOBER
26-29
FRIDAY
October 26, 2001
7 PM:
OUTER SPACE
(Peter Tscherkassky, 1999, Austria, 35mm, 10min) From the off, Outer
Space, foreign bodies penetrate the images and cause the montage
to become panic stricken. The outer edges of the film image, the
empty perforations and the skeletons of the optical track rehearse
an invasion; they puncture the anyway indeterminate action of the
film . . . a shocker of cinematographic dysfunctions; a hell-raiser
of avant-garde cinema.
ANGEL BEACH
(Scott Stark, 2001, USA-CA, 16mm, 24 fps) Anonymous 3-D photographs
of bikini-clad women from the early 1970s are compressed into a
two-dimensional cinematic space, triggering an exuberant visual
dance and revealing a troubling and elegiac voyeurism.
SKATE
(Cade Bursell, 2001, USA-CA, 16mm, 5min) The film’s images were
produced through a process of painting liquid emulsion on sandpapered
clear film leader. Contact printing, then hand processing, skate
through scratches and over the peeling skin of film in this handmade
contemplation of surface and depth. With rough surfaces a wash of
color peeling image fragments and moody, atmospheric sound, offers
up these abstract visual and aural spaces of a childhood winter.
PULSE
(Patrick Halm, 2001, USA-CA, 16mm, 6min) How to explain television
to a dead hare.
HAIRCUT
(Andy Warhol 1963, USA, 16 mm, 24min) A fascinating example of Warhol's
early minimalist style, Haircut #1 is shot from a number of different
angles, each of which is exquisitely composed and lit. Warhol made
at least three different films, restaging Billy Name's famous haircutting
parties. In this version, a slow motion haircut, sustained through
different compositions and poses, is transformed into an enigmatic
homoerotic display.
HKG
(Gerard Holthuis, 1999, Netherlands, 35mm, 14min) While Landing
at Hong Kong’s old Kai Tak Airport, you could read the newspapers
on the street, many travelers reported. HKG reverses the point of
view in astonishing images over mysterious chrome creatures over
the heart of Hong Kong. A film about life in a city and its air
traffic; an observation at the end of the 10th century, and memories
of Lumiere’s documents at the end of the previous one.
BLACKBIRDS
(Ken Paul Rosenthal, 1998, Singapore, 16mm, 9min) Blackbirds represents
the Rodney King/Reginald Denny beatings as a commentary on the media’s
gratuitous reportage of violent new events. Televised footage of
the beatings is repositioned as an extended series of re-photographed,
hand-processed images that slowly dissolve from recognizable beings
into anonymous figures. Suburban and natural sound elements rise
and fade with each generation of images. Manipulations used: negative
and cross-process developing; solarization; and temperature and
agitation-based effects on grain, color, and emulsion.
10 PM:
SILVER SCREEN
(Thorsten Fleisch, 2000, Germany, 16mm, 5min) This film was made
entirely with foil paper, exploring its possibilities in the realm
of the audiovisual. For each frame a new foil paper landscape was
created changing the parameters of light and perspective. In order
to match the rapid flow of images several foil paper sounds have
been restructured and edited wit the help of a computer.
GEOMETRY AND GRAVITY
(Tony Hill, 2001, United Kingdom, 35mm, 3min 15sec) An experiment
with orientation, movement, and shape, combined with musical improvisation.
A continuous rolling, tumbling motion determined by a geometric
shape, creates a visual soundtrack. From abstract movements of colour
it develops into a full on disorienting physical experience locked
onto the performers efforts to power the rolling frame.
METROPOLEN DES LEICHTSINNS
(Thomas Draschan and Ulrich Wiesner, 2000, Germany/Austria, 16mm,
12.5min)A witty and energetic found footage celluloid extravaganza.
#11 [MAREY <-> MOIRE]
(Joost ReKveld, 1999, Netherlands, 35mm, 20min) Abstract compositions
of light and sound in which the mechanics and optics of cinema are
not the mean but the end. A film in which neo-primitive stroboscopic
images were generated by intermittently recording the movement of
a line-combining perverted ways of distributing light across flimflams
and a kind of "pure" film that leaves the film apparatus aloud to
come up with images of flux itself. A tribute to the scientists
who laid the foundations for the film medium.
DANCE OF THE SEVEN LEAVES
(Francien Van Everdingen, 1998, Netherlands, 16mm, 3.5min) A gorgeous
and playful romp through a night of autumn leaf dreams.
MIDNIGHT:
ACHTUNG
(Michael Brynntrup, 2001, Germany, 35mm, 14min) There can be no
doubt that all our knowledge begins with experience. This amazingly
photographed film was received in Europe with an extreme amount
controversy. The Telluride International Experimental Cinema Exposition
is proud to announce the North American premiere. Contains explicit
material.
LIGHT MAGIC
(Izabella Pruska-Oldenhof, 2001, Canada, 16mm, 3min) Light Magic
slices and examines the photogram. This technique combines science
and art in order to record the process of transformation.
WEIDER HOLUNG
(Nana Swiczinsky, 1997, Austria, 35mm, 8min) A delicious and spooky
romp through the life of an animated heroine, where one thing is
constantly transforming itself into another.
TUNNEL VISION
(FORCEFIELD, 2001, USA-RI, 16mm, 10min) A way out journey that takes
one back to the roots of the underground midnight cinema’s of the
1960’s and 70’s.
AUTOMATIC MEAT PROBE
(Shawn Morrissey, 2000, USA-MA, 16mm, 5min) An ironic look at the
hidden eroticism of action films. Manipulated found footage and
appropriated sounds were used to create this homoerotic masterpiece.
GOLDEN AFTERNOON
(Jason Wade, 2001, USA-MN, Super 8, 6.5 min) Golden Afternoon presents
a window in to the bizarre perversions of an overweight man. The
experience is comparable to having your skull ripped out of your
fucking head and your eyeballs lit on fire.
ADODYNE
(Sheri Wills, 2001, USA-RI, 16mm, 4min) A cosmic voyage through
beautiful silence.
SATURDAY
October 27, 2001
10 AM:
THE AMERICAN EGYPT
(Jesse Lerner, 2001, USA/Mexico, 16mm, 57min) “An American Egypt”
revisits the short life of the first socialist government of the
Americas, the Revolution on Mexico’s Yucatan Peninsula, 1915-1924.
A film within a film. Mixing found footage, reenactments, landscapes,
and host of vivid primary sources, “The American Egypt” explores
incidents in the early history of globalization through the connections
that link social revolution, silent cinema and the suffragette movement.
11:30 AM:
HUMOR IN EXPERIMENTAL FILM: THE CLASSICS
(Hosted by Dani Michali, 2.5hrs) This is a classic experimental
film show. Selections include Kenneth Anger's "Invocation of My
Demon Brother", "Wide Angle Saxon" by Owen Land, "Mongoloid" by
Bruce Conner, "The Mongoloid" by George Kuchar, and much more. We
will discuss questions such as: Are experimental films funny? Is
formalist filmmaking very far from the Hollywood straight man? What
are we supposed to think of a forty minute zoom across a New York
loft? This program collects several films together that relate to
these questions, either directly or by skirting the issue.
2 PM:
CAT CYCLE
(Devon Damonte, 2001, USA-MA, 16mm, 3.5 min) The righting reflex
is applied and stretched beyond the frame of gravity. Film made
entirely by hand without cameras through photocopy directly onto
clear 16mm leader. 19th century motion studies imagery from Etienne
Jules Marey provides a launching point.
THE YELLOW LION
(Jamie Harrar, 1998, USA-NC, 16mm, 6min) The film is a brief meditation,
with references to dance, ritual, and alchemical allegory. At the
end of the film the yellow lion reveals countless excellencies arts
and secrets. Marshall Allen of the legendary Sun Ra Arkestra composed
the soundtrack to the film.
TANK
(Hans Michaud, 2000, USA-NY, 16mm, 22min) Tank is an exercise in
diversity through simple repetitive patterns with very finite boundaries.
Michaud was interested in how much he could squeeze out of such
restraints. The film is a kind of drumming in celluloid.
MESHEEN
(Tony Youngblood, 2000, USA-KY, 16mm, 5min) A glorious tribute to
the mechanical.
SOMEWHERE I WAS BORN
(Tony Gault, 2000, USA-CO, 16mm, 8min) The comic study of religion
and evolution, the film documents the filmmakers’ brush with mortality
after being diagnosed with cancer.
IMMERSION
(John Murry, 2001, USA-RI, 16mm, 3min) A rich blend of photograms
and photographic imagery merge to form a movement provocative of
thoughts, fears and emotions.
MAN!
(John Palmer, 2001, USA-CA, 16mm, 5min) Part-meditation, part-animation,
part-performance, this collage film offers a contemporary, and often
humorous, take on masculinity.
DUNKLER KANN ES NICHT WERDEN
(Zachary Scheuren, 2001, USA-CO, 16mm, 19.5 min) Alone, far from
the city, Lisa waits; for her husband, for love, for light.
4:15 PM:
A NEW SINCERITY ?
(Hosted by Laura Klein, 1hr, 16mm: all films) This show features
“Tender” and “Cornwing” by Laura Klein “Chico’s Last Hour” by Micaela
O'Herihly, and more. The filmmakers in this program typically exhibit
their work in punk venues, warehouses, and other makeshift cinema
environments. Special thanks to Brad Adkins, who helped make this
program possible.
8 PM:
DON'T PANIC ITS ORGANIC!
(Jason Livingston, 2000, USA-IA, 16mm, 14min) This triple 16mm projection
and slide show masterpiece was made by planting strips of celluloid
in jars of dirt, twigs, mud and leaves. This film investigates our
desire to remain in touch with the physical world. Hippie and health
food lifestyles are cross-examined.
GENERATIONS OF DEGENERATION
(Sarah A Reynolds, 2001, USA-NY, 16mm, indefinite) A live, direct-cinema
performance event in which a 16mm loop of found footage is gradually
degraded as it runs continuously through the projector. The footage
itself is time-lapse photography of plant life. The effect is a
simulation of the degenerative process of film over time, sped up
for purposes of observation. The project is presenting the juxtaposition
or relationship between two time lapses, as well as the contradiction
between the artificial and the natural. The exploration of the analogy
between the degenerative processes of analog media and the degeneration
of memory over time.
REGENERATION
(Nate Mahoney & Yui Takamatsu, 2000, USA-IL, 16mm, 8min) Regeneration
is a short black and white film that compares the life cycles of
humans with the cycle involved in filmmaking. Imagery of a baby
and a senior citizen were combined to examine the duality between
opposite ends of the life span. This combination of infant, elder,
pristine and degraded enables this film to discuss the generations
of life.
ORGANICS
(Dietmar Brehm, Austria, 1999, 16mm, 18min) "Since 1996, parallel
to all the other paintings and film work I made hundreds of pictures
each with the title “Organics”, and each on the same size of paper
– 61 x 43.5cm. It is from this drawing phase that the film Organics
developed.” – Brehm
10 PM:
DREAM WORK
(Peter Tscherkassky, 2001, Austria, 35mm, 11 min, Music: Kiawasch
Saheb Nassagh) A woman goes to bed, falls asleep, and begins to
dream. This dream takes her to a landscape of light and shadow,
evoked in a form only possible through classic cinematography. Dream
Work is - after Arrivée and Outer Space - the third section of my
CinemaScope Trilogy. The formal element binding the trilogy is the
specific technique of contact printing, by which found film footage
is copied by hand and frame by frame onto unexposed film stock.
Through this, I am able, in a literal sense, to realize the central
mechanism by which dreams produce meaning, the "dream work," as
Sigmund Freud described it: displacement [Verschiebung] and condensation
[Verdichtung]. The new interpretation of the text of the original
source material takes place through its "displacement" from its
original context and its concurrent "condensation" by means of multiple
exposure. Moreover Dream Work positions itself as an homage to Man
Ray, who, in 1923 with his famous rayographs in La retour á la raison
was the first artist to use this technique for filmmaking, exposing
the image by shining light through physical objects onto the film
stock.
REMAINISCENCES
(Carlos Adriano, 1997, Brazil, 35mm, 18min) Experimental film made
on 11 frames of 1 single image (motion picture), supposedly the
1st film shooting in Brazilian cinema history, registered in November
1897 by Cuhna Salles. The frames (shot of a pier in the sea with
waves beating on it) are worked into a structure of forms in de-construction,
a poetic articulation of procedures of cinematographic language,
according to the esthetic and ecstatic experience of concepts and
sensations and the essence of cinema.
COPY SHOP
(Virgil Widrich, 2001, Austria, 35mm, 12min)
TRADION IST
(Gustav Deutsch, 1999, Austria, 35mm, 1min) Some found footage –
made of cellulose nitrate – the material Fire – a threat to nitrate
film – it’s theme A quote from Gustav Mahler - it’s message - The
soundtrack –by Christian Fennesz – as the bridge.
LETTERS
(Riccardo Iacono, 2000, United Kingdom, 35mm, 3min 19sec) Letters
is an experimental animation which draws inspiration from the film
works of Len Lye, Stan Brakhage, Robert Breer, and Paul Sharits.
It is a poem of light, speed and love, a meditation on silence and
the intimate, sensual experience of seeing. It was made over a period
of 4 years by optically manipulating images pained directly onto
clear and exposed movie film. Then by cutting it up into bits.
WARM
(Ana and Sonia Gil-Costa, 2001, USA-NY, 35mm, 2.5min) An exploration
of color temperature and light in black, white and yellow. Holes
altered archival footage and flicker are used as literal sources
of light.
SUGO
(Hannes Hangeder, 1998, Austria, 35mm, 3min) Fry onions and pork
deli cut into cubes in oil. Cut ham in short strips and add. Now
add sour cream, egg yolks, and spices. Make sure that the sauce
does not come to a boil. In the mean time the spaghetti should be
cooked al dente and strained. Mix with the sauce, add parmesan and
serve.
TWISTER
(Tim Wyborn, 2001, New Zealand, 35mm, 2min) Simple scratches in
the film emulsion move to create a beautiful dance of light. The
effect created is similar to a tornado or twister. The film involved
no production cost.
AMS (City at Night)
(Gerard Holthuis, 2000, Netherlands, 35 mm, 9.5min) The thriller
without a story line, A boat sails at night through the canals of
The Hague and observes people and buildings. Who did what?
MIDNIGHT:
ASPHALTO
(Ilppo Pohjola, 1998, Finland, 35mm, 45min) GIRLS, CARS, AND GAS
STATIONS!! From the director of "Routemaster", comes an award winning
masterwork. This film is not really involved in the deconstruction
of the narrative filmmaking animal, but rather, it sinks its teeth
into the creature and takes a bite out of it. The discourse points
to the destruction of the narrative. "Asphalto" is one hell of a
visual powerhouse that is both stunning and genre defying.
SUNDAY
October 27, 2001
9 AM:
EXPERIMENTAL FILMMAKING WORKSHOP: DIRECT ANIMATION
(Hosted and Instructed by Devon Demonte) Sample 16mm loop, Introductions,
Schedule for class, Quick exercise & watch, Filmmaking basics: Formats,
Varieties of film stocks, Frame Lines, Sprockets; Original footage
& prints, Pure and applied direct animation, Splicer lesson, Projector
lesson, • Brief History of Direct Animation, Cameraless Motion Graphics,
and Abstract Avant Garde Cinema, Names to know: The Pioneers: Len
Lye, Norman McClaren, Harry Smith, Hy Hirsch, Emile Reynaud, Jose
Antonio Sistiaga, Current Giants of the genre: Stan Brakhage, Barbel
Neubauer, Pierre Hebert, Other awesome current practitioners: Richard
Reeves, Rena Del Pieve Gobbi, Jenn Reeves, Stephanie Maxwell, Cecile
Fontaine, Thorsten Fleisch, Rose Bond, Sandra Gibson, Don Best,
Rock Ross, Michael Rudnick, Peter Hurwitz, Naomi Uman, Nina Paley,
Thad Povey & the Scratch Film Junkies, and now you! BASIC TECHNIQUES
– everyone start personal sample reel of techniques: Marking on
the surface – primary methods Draw, Paint, Other mark-making (fingerprint,
rubbing, stamping, transfer lettering, etc.), Removing from the
surface: Scratch line, Scratch texture, Hole punching, Chemical
treatments; Adding to the film material: Splice collage, Glue collage,
Tape transfer, Adhesive materials; Marking on the surface – outer
limits: Photocopy directly, Drypoint/etching, Bag ironing ink transfer;
Handmade/Synthetic Sound on Film; Photographic techniques – discussion
only: Photogram, Lab manipulation, Optical printing; Loops; Theory
Basics, Terms, Cliques, Overlapping genres: Experimental Animation,
Visual Music, Avant Garde Film, Applications of direct animation,
Film Art, Titles, Performance, Splice Together Everyone’s bits +
loop around the room & watch!!
12:30 PM:
SUNDAY MORNING
(Brian Frye, 2001, USA-NY, 16mm, 2min)
SHUDDER (TOP AND BOTTOM)
(Michael Giltlin, 2001, USA-NY, 16mm, 3min) The source for Shudder
(Top and Bottom) is a piece of found footage on which a 35mm film
finds itself on 16mm film stock. Each from of the original 35mm
image covers two 16mm frames, with the top half of the original
image on one from and the bottom half on the next frame. When projected,
this misprint becomes a kind of shuddering optical toy, with a dense,
collagist soundtrack that rubs against the complicated visual weave
of the images. Shudder (Top and Bottom scratches at the fiction
of the original footage, leaving behind, in its phosphene-laden
after-image, a throbbing world of lonely danger.
TRAIN
(Masako Miyazaki, 1999, USA-NY, 16mm, 8min) An experimental animation
exploring rhythmic and organic qualities in a machine called Train.
DEPART
(Thomas Comerford, 2000, USA-IL, 16mm, 6min) The landscape of a
railroad switchyard in a small Midwestern town and the relationship
a French filmmaker has with the railroad. As an homage to Louis
Lumiere’s Arrivee and early cinema, the film evokes nostalgia for
the mechanical, intertwined institutions of the railroad and the
cinema. Part of a series of films made with pinhole cameras and
found/homemade noise machines.
A DAY FULL OF VARIETY
(Albert Sackl, 1998, Austria, 16mm, 12 min) Compressing an entire
day into a few minutes, and shot in a black cube. Every day situations
and basic actions alternate with elements, which are staged performances.
The author is the protagonist, and creates a dialogue between human
agent and mechanical apparatus, between camera, and observed body.
2 PM:
FILM (DZAMA)
(Deco Dawson, 2001, Canada, 16mm, 23min) An attempt to rekindle
the lost form of surrealist cinema made popular in the 1920s by
Dali / Bunuel and Man Ray. Marcel Dzama is a Winnipeg based Visual
Artist who works on small page size drawings. Watercolour Storyboards.
Fictional biography of Marcel Dzama’s work. The role of the artist
is played by his real life father Maurice.
SUBMERSED BUT FOR THE SAKE OF THE SEA
(Patrick Halm, 2001, USA-CA, 16mm, 8min) Visual gravitation. Mental
levitation. The order the mind gives to the eye.
THE ENJOYMENT OF READING (LOST AND FOUND)
(David Gatten, 2001, USA, 16mm, 13 min) "All night I sat reading
a book, / Sat reading as if in a book / Of somber pages / It was
autumn and falling stars / Covered the shriveled forms / Crouched
in the moonlight / No lamp was burning as I read, / A voice was
mumbling, 'Everything / Falls back to coldness / Even the musky
muscadines / The melons, the vermilion pears / Of the leafless garden.'
/ The somber pages bore no print / Except the trace of burning stars
/ In the frosty heaven." - Wallace Stevens
A closely watched candle and an invitation to the dance. William
Byrd booms among his books while Evelyn keeps to a quiet window;
the volunteer fire brigade sorts through the ashes and Isaac Goldberg
tells it like it is. Who read what; when and why? The first in a
series of seven films about the division of landscapes, objects,
ideas and people; about letters, libraries, and lovers; auctions,
ghosts and the Byrd family of Virginia during the early 18th century.
IN THE COURSE OF HUMAN EVENTS
(Dominic Angerame, 1998, USA-CA, 16mm, 23min) A primitive yet seductive
‘tableau’ of twisted metal where bulldozers are prehistoric monsters
that tear bits of metal and stone from the vulnerable concrete.
Angerame films in a spectacle of extremely precise shots that surgically
unveil our obsession with destruction and technological decline.
MOUNTAIN TRIP
(Siegfried Fruhauf, 1999, Austria, 16mm, 4min)
4 PM:
AVAILABLE LIGHT
(Luis Recoder, USA-CA, 16mm) "As the "mysteries of light" become
ever more mysterious in the haze of picture taking technologies,
the kindling of film light becomes all the more urgent. This film
touches upon this enigma as a work of preservation. Preservation
not of the materiality of things at hand but the pure gesture of
light signaling the coming of the immaterial - the silent agent,
facilitator of a break in the fabric of our desire to arrest perception,
thought, indeed desire itself." – Recoder
AUTOGENIC THRESHOLD
(Patrick Halm, 2001, USA-CA, 16mm, 10min) Self made barriers and
portals. The build up and release of the physical, emotional and
mythic. The physical calm of emotional release.
3 FILMS
(Thomas Draschan, 1998 Austria, 16mm, 9min) tree, 3 days / georg,
balkony, 3 days / basler square, day/night Natural movement on the
screen, swirls of smoke, water or leaves that move with the wind.
#1 leaves move in the wind. Single frames stop the movement photographically
and then give them fictive movement again. #2 A man sits reading
but it is difficult to radically fragment the human body into single
frames. The gaze of the camera reveals identity and duration. #3
a complex orchestration of picture and light in layers. Trees, buildings,
squares, street, sky, clouds, streetlights. Day and night functions
like on and off… Reflections in windowpanes show the interior of
a room. Silent.
ALONE LIFE WASTES ANDY HARDY
(Martin Arnold, 1998, Austria, 16mm, 15min) The ever young Mickey
Rooney together with the immortal Judy Garland are cloned in an
experimental backyard musical.
6 PM:
CINEMA IN THE SKY
(Kite Cinema by Robert Schaller and Kite Artist David Wagner: Cinema
In the Sky consists of film projections onto kites high in the Rocky
mountains, after dusk on Sunday night) 1)“Scenes from Wayang Kulit”
whose theme comes from a combination of Indonesian, Malaysian, and
Balinese shadow puppet theater. The artists’ intent is to put “the
gods back into the sky”. The art of puppetry in Indonesia, Malaysia,
and Bali is performed by individuals likened to catholic priests.
It is believed that these persons have the ability to summons the
gods to manifest themselves through puppets. David Wagner has studied
kite craft in Indonesia and other parts of Southeast Asia. He and
Schaller are familiar with shadow puppet theater and hope to impart
this art to the Western world. 2)"In Heaven As It Is On Earth: An
Exploration in Arial Images": Inspired by Hunter's Point Naval Shipyard,
where this piece premiered in July 2001 (at the SF Cinematheque's
Sink or Swim), this piece explores through arial images and found
footage the paradox of our existence on this planet in an age of
hyperbolic high-tech positivism and its detritus, and the earth
on which we write it. "From its existence as functioning shipyard
to its troubled status as a toxic waste dump to its asserted future
as a housing and retail development, Hunters Point presents in microcosm
many of the significant forces of our civilization, collapsed into
a single space; a past, present, and future at immiscable odds like
warring tattoos on a one living skin.
6:30 PM:
NOTES AFTER A LONG SILENCE: SUPER 8 FILMS FROM BOSTON (1970'S -
PRESENT)
(Hosted by Bill Storz, 3 hours) Boston has long been home to a large
and vital experimental filmmaking community. This program is a celebration
of the depth and range of film work from a group of these artists,
as well as a snapshot of a fortunate moment in time, when these
makers were able to inspire, and help make each other. Films include:
"Chappiquiddick" by Sam Durant, "Deadbeat" by Joe Gibbons, Amanda
Katz's "Death of Feeling", "Notes After Long Silence" by Saul Levine,
"Sweet Feed Charger Oats" by Laurie McKenna, "Can't Swim Can't Fly"
by Laurie McKenna, "Green" by Luther Price, "Spirit of '76" by Anne
Charlotte Robertson, "Suicide" by Anne Charlotte Robertson, "Depth
of Field" by Anne Charlotte Robertson, and "Remains to Be Seen"
by Phil Solomon.
10 PM:
STRIP MALL TRILOGY: PART 1
(Roger Beebe USA-FL, Super 8, 9min) A beautiful post-modern look
at the astetic possiblites of strip mall flare.
UNTITLED
(Stewart McAlpine, 2000, USA-GA, Super 8, 3 min) A stream of conscious
film. It was filmed guerilla style in the luxurious and quirky surroundings
of the University of Georgia.
LITERAL LIGHT #2
(Bill Witman, 2001, USA-CO, Super 8, 3.5min) My camera has recorded
the light more or less as I saw it one bright morning on an eastern
beach. In this sense Literal Light is just that, a documentary of
light seen with eyes open and closed. This is also a kinetic film,
a kind of chase.
PERSON MAKES PLACE MAKES PERSON MAKES PLACE MAKES PERSON MAKES PLACE
MAKES PERSON...
(Jane-Sarah MacFarlane, USA-MA, Super 8, 4min) The relationship
between a person and their envorinment. In classic MacFarlane style
come a Super 8 treasure.
PLANE (Kara Blake, 2001, Canada, Super 8, 2 min)
STRIP MALL TRILOGY: PART 3
(Roger Beebe USA-FL, Super 8, 9min) Another beautifully haunting
post-modern look at the astetic possiblites of strip mall flare.
EMERALD REELS SUPER 8
(Hosted by Reed O’Beirne, 30min) Super-8 Films from the Northwest
featuring short works by Reed O'Beirne, Jason Gutz, Doug Lane, Rachel
Lord, J. C. Lipzin, Jeremy Schrader, Sung Kim and more.
MIDNIGHT
"SUBCONSCIOUSNESS IS WHERE YOU LEFT YOUR KEYS"
(Presented by "The Media Men": Will Skolochenko - RADARTheory and
Dave Hogan - Doktor Spin/Cycle, 90min) An improvisational performance
about first contact with the interdimensional self. This combination
of multiple projection and audio explores the notions of time travel,
black holes and human memory and will always be a work in progress.
MONDAY
October 29, 2001
10 AM:
THE SILVER RETURNS
(David Sherman, 2001, USA-CA, 16mm, 23min)
WOT THE ANCIENT SOD
(Diane Kitchen, 2001, USA-WI, 16mm, 17 min) A magical tour-de-force
centering upon leaf light.
DAUME (Ben Russell, USA-IL, 2000, 16mm, 7 min) "One of the strangest
films I have ever seen; its characters come and go as if they’re
primitives posing for the camera, either obeying or fighting an
ethnographer’s controlling eye." - Fred Camper, Chicago Reader film
critic
BLITZE (BOLTZ OF LIGHTNING)
(Dietmar Brehm, 1999, Austria, 16mm, 7 min) A glance triggers flashes
of lightening in the brain; synaptic activity during a dream replaces
the glance. A man opens his eyes. He sees a cozy room with a burning
fireplace; he sees an elderly person lying in the bed and then turning
to ring for a servant; he sees a woman taking a shower, then in
bed asleep. Suddenly all order is reversed. It may be that the woman
is merely dreaming of a voyeur; she may be entering REM sleep. The
feeling of discomfort caused by Bolts of Lightening is made possible
by the relevance Brehm adds to his found footage. He permits the
telling of a story which is turned completely around and, as in
a dream, the story is nothing more than a subsequent synthesis of
images which appear suddenly; beauty and transience are not just
subjects, they are also a quality of film images.
THE BELLS OF CHICAGO
(Brian Frye, 2001, USA-NY, 16mm, 1 min)
ACETYLENE – SPECIMENS 28 - 52
(Sherri Wills, 2001, USA-RI, 16mm, 4 min) A lovely encounter with
a sunny afternoon and its conflict with midnight.
THANATOS
(Christian Barron, 2000, Canada, 16mm, 4 min) An brilliant experiment
involving visual monitors and masturbation.
SILENCE
(Vanessa O’Neill, 2001, USA-NY, 16mm, 13min) An idea of white.
REVERIE
(Joel Schlemowitz, 2001, USA-NY, 16mm, 7.5 min) A cascade of dream
images in a gothic setting. The dreamer imagines flames and fur,
Doré's depictions of Dante, a clutter of objects on a Victorian
desk, all amid a web of haunting sounds.
HALLE II
(Thomas Steiner, 1997, Austria, 16mm, 8min)
GONE OVER
(Christopher Bravo, 2001, USA-IL, 16mm, 10 min)
LA SORTIE
(Siegfried Fruhauf, 1998, Austria, 16mm, 6min) La Sortie des Ouvriers
de l’Usine, a depiction of workers leaving a factory by the Lumiere
brothers, was the first film of cinematographic history. Over 100
years later Fruhauf has made a fourth version. This remake gives
short shrift to the uncommon irony of the Lumiere films. 14 workers
are present here – five are on the vertical axis, the rest cross
the horizontal axis in the background. Their movements form a cross
– a symbol of death as a ballet mechanique.
EXTREMELY BRIGHT LIGHTS AND THE SOUND OF EXPLOSIONS
(Simon Tarr, 2000, USA-PA, 16mm, 3min) This film dwells in the space
between humor and fear. Semi-professional wrestlers filmed in glorious
Super 8, pound on each other with fists and chairs. Ringside commentary
is provided by Agnes, a computer, reciting appropriate passages
from a civil defense manual. Whatever you do, do not look at the
source of the light and the heat.
SOUNDINGS
(Sandra Gibson, 2001, USA_NY, 16mm, 5.5 min)
PAN (SCHWENK)
(Thomas Steiner, 1998, Austria, 16mm, 5 min)
SPACE (Louis Recoder, USA-CA/NY, 16mm)
A unique telling of the space like qualities of the cinematic experience.
CREDITS
SPECIAL THANKS TO:
Telluride Conference Center
Heather Knox – Conference Center Events Manager
Dean Silver - Projectionist
Conference Center Staff
Bruce Mazen – Production / Booth Consultant
Jane-Sarah Macfarlane - Chief Projectionist
David Torrey de Freschville
The Harkins Family
Jane and John May
Colorado College’s KRCC-91.5
Eutemia from Radio 1190
Courtney Hoskins
Jonathan Brewer - Sound/Lighting Coordinator & DJ
Dean Rowley - Projectionist
Melanie Eggars
Victor Wouteers
Alana Warren
John Harkins - Photo Exhibit
TIE STAFF:
Christopher May – Founder/Director
Erin Mays – Assistant/Graphic Designer
Catherine Smith – Press Agent
Samuel Cooper – Volunteer Coordinator
John Harkins - Photographer
BOARD OF DIRECTORS:
Kevin Taylor
Matthew May
Tony Gault
BOARD OF ARTISTIC DIRECTORS:
Stan Brakhage
Reed O’Beirne
M.M. Serra
Joel Haertling
Thorsten Fleisch
Bill Storz
FRIENDS OF TIE:
Hugh Smith
Becky D. Miller
Jack Collom
Gabriela Tinoco
Kane Turner
Nicolas E. Massie
Holly J. Massie
SPONSORS:
Resort Quest
The Inn at Lost Creek
Blue Skies Inn
The Ice House
Oak Street Inn
Telluride Paper Chase
The Onion
Radio 1190
Go Go Magazine
Valley of the Moon
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