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EILEEN MAXSON drowns in white walls and cable television, emerging on occasion to press record. Heavy-hearted and humorous, Maxson's videos record characters struggling with an unrequited love of television. These are women trapped in forgotten scraps of
Stan Brakhage’s body of work counts as one of the most important within post-war avant-garde cinema, and yet it has rarely been given the attention it deserves. Over the years, though, diverse and original reflections have developed, distancing his figure little by little from critical categories. This collection of newly commissioned essays, plus some important reprinted work, queries some of the consensus on Brakhage’s films. In particular, many of these essays revolve around the controversial issues of representation and perception.
"Film should not be misused for non-filmic messages": Wilhelm and Birgit Hein examine in their films theprocess of reproduction and the film material itself. Rohfilm shows the destruction of the common "film image" and was described by Stephen Dwoskin as a "visual bombing" of shreds, fragments, dirt and leftovers of film editing. Reproductions dissolves photos in greys, 625 films a negative "snow" TV image with different speeds, in Portraits photos are changed by the development and reproduction processes. Materialfilme consists of film starting and ending leaders, the elements of every film that normally are not seen on the screen. W+B Hein's underground film classics deal with the unexplored potentials of the film material which starts to disappear in the digital world.
The basic idea is that it is impossible to fix film. Film is something, which is always in a state of flux...The images, ‘real’ in the beginning, gradually disintegrate and the gelatine layer, where the chemicals are embedded, dissolves. All that’s left in the end is the ‘raging of the elements’. -Jürgen Reble
Ten award-winning and favorite short films from the 46th Ann Arbor Film Festival, covering all dimensions of the frame: avant garde film art, experimental animation comedy, alternative narrative, poetic and abstract explorations of nature, indie documentary. Time Pieces also includes rare bonus material with deleted scenes, director commentary, artist statements, video installations and audition outtakes.
\"Le révélateur is a silent film. A couple and their child flee in the face of an unknown, but still cinsiderable menace. A film with neither laughter nor mutterings.In a desolate landscape, full of humidity and huliliation, we see the weakest of beings s
Joel Schlemowitz is a wizard of cinema, and this collection of short experimental films is a marvel to behold. Each piece is a unique gem -- quirky, provocative, playful, often handmade, and always daring
Helen Hill (1970-2007) was a filmmaker and activist raised in Columbia, South Carolina and settled in New Orleans, Louisiana. She studied Experimental Animation at Harvard and California Institute of the Arts. She taught film workshops wherever she went,
¿Cómo se presenta el cine en las prácticas artísticas cuando éste ha sido progresivamente despojado de su aparato tecnológico? ¿Es el cine una técnica o un método de asociación mental que estimula el pensamiento? Desde su mismo nacimiento, el cine se vio ceñido a una serie de normas y valores que le impedían expresar la naturaleza radical de sus potencias y, no obstante, unos cuantos visionarios han logrado extirparlo de su laberinto circular. No se trata de practicar una destrucción total del cine en todos los casos, sino de transformarlo en otras formas artísticas. Paracinema, en oposición al cine expandido, es la realización de la idea de cine a un nivel conceptual, experiencial y artístico. Se trata, en cualquier caso, de generar una experiencia cinemática desconectada, entera o parcialmente de su aparato tradicional.
The exhibition’s catalogue assembles the results of the worldwide research into surrealist films in images and text and presents the ways in which filmic surrealism has been diffused. The publication thus comes to grips with subjects that have thus far only marginally been dealt with and collects them in a compendium of filmic surrealism. In this way the visitors to the exhibition are offered further reading for enrichment and the professional academic public is provided with the stimulus for further fruitful activity.
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