Anniversary Tour Show:
TIE, The International Experimental Cinema Exposition, marks more than 500 films screened since its inception in Telluride, Colorado. TIE's traveling showcase remains true to its dedication: celluloid works in their true format, from the latest contemporary works to archival films from the rich history of experimental cinema. The tour is a collection of highlights from the past six years of TIE’s expositions and festivals. The varying programs exhibit at a limited number of venues in North America and abroad. TIE Director, Christopher May, appears in-person.

8PM Saturday, August 20, 2005
Shreveport, Mini-Cine Edition
ArtSpace
710 Texas Street
Shreveport, LA

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What the Water Said, Nos. 1-3 {David Gatten, 16 min., 16mm, USA, 1997-98}
"This film is the result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean and its underwater inhabitants. For three days in January and three days in October of 1997, and again, for a day, in August of 1998, lengths of unexposed, undeveloped film were soaked in a crab trap on a South Carolina beach. Both the sound and image in What the Water Said are the result of the ensuing oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand and rocks; as it was chewed and eaten by the crabs, fish and underwater creatures."

Blutrausch (Bloodlust) {Thorsten Fleisch, 4 min., 16mm, Sound, Germany, 2000}
This film is an attempt to constitute a human / machine dialogue. It shows the filmmaker's blood as seen / heard by the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. Fresh and clotted blood was used for a maximum of variety.


Meridian Days {Trevor Fife, 12 min., 16mm, USA, 2003}
Meridian Days is a navigational term that refers to the phenomenon of temporally losing or gaining a day when you cross the international dateline. This hauntingly poetic and beautifully crafted travelogue stems from audio and visual material collected on a 3-week luxury ship cruise taken with the filmmaker’s 82-year-old Grandmother. The result is a visually stunning and engaging mix of humor and disparity.

Den of Tigers {Jonathan Schwartz, 18 min., 16mm, India / USA, 2002}
This gorgeous film was made from during travel to West Bengal, India on an invitation to record sound for a film. While there, Schwartz collected images/sounds for this, his own project - a reflection of the maker’s experience, feelings, and most of all, the participation of walking, looking, and listening. The piece touches outside the traditional arenas of genre and boundaries. It speaks with many voices - the associational values of experimental cinema, the patience of objective documentary, emotional levels of narrative, and intellectual/research oriented foundations of an essay. The culmination of visual construction and sound layering moves beyond hearing and seeing. Jonathan builds the work, with elements of tradition, into his own- a unique and new voice. It sings with observational, textural, lyrical, and metaphorical songs. It is in the construction where innovation enters -the interplay of movement-color-composition-meaning-mood swimming within the layering compositions of sound inspires emotion, association, and intellect. The process is rooted in coupling the experimental cinema artist approach with that of an independent journalist. Jonathan's work is not journalism in any sense - yet the approach of creating his work requires intuitive response in the field.

My Life as a Bee {Robert Schaller, 4min., 16mm, USA, 2002}
An imagining of a bee’s eye view of a spring day in Golden Gate Park. A primitive, home-made camera reveals a world of vibrant, frenetic color, racing between flowers and losing itself in the revelry of survival and sunshine.

Loretta {Jeanne Liotta, 4 min., 16mm, USA, 2003}
"I love that which dazzles me and then accentuates the darkness within me."
-Rene Char

A photogram opera of corporeal dissolution, this abstract film is a series of a million flashlit moments. As the heroine ,Loretta insists upon herself, and the evidence is an absolute aria, dissolving into the infinite. Living in time as high drama. Yellow conceived of as light materialized; a pure value emitting a particular frequency of energy, A dialectical manifestiation of phenomena in flux, like any other movie.

("A photogram , also known as a rayogram (after Man Ray) is a cameraless process whereby a photograph is made by placing objects directly on the sensititized paper/film and directing a light source on it to expose it. Loretta was made this way, placing a 35mm negative on top of raw 16mm stock and exposing it with a flashlight, section by section, even frame by frame sometimes.")

Metaphysical Education {Thad Povey, 4 min., 16mm, Sound, USA, 2003}
The molding of young flesh and the beating of desperate wings. Instead of using tape splices 16mm wide, this film was edited by turning the splicer sideways to reveal the sprockets and the soundtrack. The long cuts run diagonally across the screen and, as the filmstrip slides by, the highest jumper shows the way to the herd. Music by Ramona The Pest.

Film (Dzama) {Deco Dawson, 23 min., 16mm, Canada, 2001}
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 young Winnipeg-based Visual Artist who works on small page size drawings, and warercolor storyboards. The film is a beautiful and inventive fictional biography of Marcel Dzama’s work and creative process. His real life father Maurice plays the role of the artist.

Program curated by TIE Director, Christopher May.