In the context of the festival Pour Les Oiseaux
These microfilms have nothing to do with the size of the images, but with the recurring "character" of this series: the microphone. An essential instrument for capturing sound, we never see it (unless we're mistaken): it's outside the image, confined to the off-screen.
It's not easy to emerge from invisibility... Under the pretext of finally allowing it to appear in the frame, the microphone is subjected to all sorts of incongruous situations: it's placed in the nose, in the mouth, endlessly thrown, thrown into the air or even into the harbor water. But it will eventually rebel...
As a preamble to this series, WEEKEND by Walter Ruttmann, a film without images but with sound: the first instance of cinema for the ear.
Program:
Walter Ruttmann
WEEKEND (1930, sound, 11'00)
Georges Rey
MICROFILM (1979, 16mm on digital, color, sound, 6' 00)
Bertran Berrenger
MICRO-NEZ (1989, video, color, sound, 0' 51)
OUVERTURE FERMETURE (2000, video, color, sound, 1' 45)
NIGHT SHOT (2000, video, color, sound, 1' 53)
LARSEN (1999, video, color, sound, 1' 42)
DUO PRECARIO (2006, video, color, sound, 1' 50)
Victoria Keddie
LAV MIC (2018, video, color, sound, 3' 15)
Félix Blume
SON SEUL WILDTRACK (2012-2020, video, color, sound, 14' 30)
Norman McLaren
DISCOURS DE BIENVENUE DE NORMAN MCLAREN (1960, 35 mm on digital, b&w, sound, 9'00)
