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Are we there yet? de Moira Tierney à Baltimore

le 25/08/0012 à 20h00

SCENE MISSING exposes the enduring tradition in experimental cinema of repurposing found and original film footage. The medium is masterfully recycled by means of chemical and optical manipulations. Frame by frame, the filmmakers’ devotion to celluloid involves an intensely personal quality and handcrafted integrity. Emotional resonance projects through the envisioning of ephemeral worlds, excavation of collective memory and disruption of narrative artifice. The beauty of what is long gone or recently passed is resurrected through unique film spaces that overwhelm the senses.

 

Films:

Poor Jim
By Kenny Curwood
2012, 16mm, b/w & color, sound, 9m
Poor Jim started as one 100 foot roll of hi-con (shot for a music video). Through optical printing, the footage morphs from the original b&w negative, to positive (b&w), to synthetic color (via multiple passes through filters), finally decomposing into abstract mandalas created by exposing each frame up to 9 times. Interspersed throughout is hand-drawn animation. Optical sound was added with a 70-year-old Auricon camera. - Kenny Curwood

Make them Jump
By Kelly Spivey
2009, 16mm, color, sound, 11m
‘Excerpted from an optically printed from found footage of animals with children, with subliminal messages … an experimental film that uses snippets from discarded educational films including a bullfrog-jumping contest, a story of a child in a Harlem project who finds an abandoned duck, and a girl whose best friend is a cow. Inspired by the Rachel Carson quote: “It is a wholesome and necessary thing for us to turn again to the earth and in the contemplation of her beauties to know the sense of wonder and humility,” the film digs frame-by-re-photographed-frame for the underlying, yet now tenuous beauty in nature and our awkward, yet increasingly poignant relationship with animals.’ – Kelly Spivey

Gossamer Walls
By Malic Amalya and Peter Miller
2007, 16mm, b/w, sound, 5m
Image by Malic Amalya, Sound by Peter Miller
'Through the process of contact printing, hand processing, and low-fi optical printing, Gossamer Walls remembers, mis-remembers, and reinterprets a previous generation’s super 8 home movies.' - Malic Amalya
 

Are We There Yet?
By Moira Tierney
2010, S8mm-to-16mm, color, sound, music by Macdara Smith & the Bahh Band, 10m
‘The optic printer broke down, repeatedly. It stuttered, it jumped, it stuck; I rewound, started again, reloaded … In the end I kept it all in – the jumps and the flares as well as the conventionally well-behaved footage; for me it represents the apparent paradox of the border and the struggle one faces when attempting to describe something that slippery – landscape? political imposition? colonial hangover? to be avoided in polite conversation? fact of fiction? comedy, tragedy or farce? to which the only answer I could find is another question: are we there yet?’ – Moira Tierney

Inside Velvet K
By Luther Price
2006, 16mm, color, sound, 10m
‘Apocalyptic post card ...........’ – Luther Price

Her Fragrant Emulsion
By Lewis Klahr
1987, 16mm, color, sound, 11m
'Her Fragrant Emlusion is an obsessional homage to the 60′s B-film actress Mimsy Farmer.' – Lewis Klahr.

Outer Space
By Peter Tscherkassky
1999, 16mm, b/w, sound, 10m
‘A woman, terrorized by an invisible and aggressive force, is also exposed to the audience’s gaze, a prisoner in two senses. Outer Space agitates this construction, which is prototypical for gender hierarchies and classic cinema’s viewing regime, and allows the protagonist to turn them upside down. (…) Flickering images, everything crashes, explodes; perforations and the soundtrack are engaged in a violent struggle. (…) The story ends in the woman’s resistant gaze.’ – Isabella Reichert

 

Keep the Home Fires Burning
By Ryan O’Toole
2008, 16mm, b/w & color, sound, 8m
‘A short autobiographical 16mm film about duty and loss, seen in the home movies of a military family. Focusing on fathers and sons, the filmmaker mixes the voices and imagery of three generations, accompanied by the filmmaker’s original score, to illuminate the effects of war on veterans and their children.’ – Ryan O’Toole

The Exquisite Hour
By Phil Solomon
1994, 16mm, color, sound, 14m
‘Partly a lullaby for the dying, partly a lament of the death of cinema … [it] is dedicated to the memory of my grandparents, Albert Solomon, who was a projectionist for Fox, and Rose Solomon, who took tickets at Lowe’s Paradise in the Bronx. Based on the song by Reynaldo Hahn and poem by Paul Verlaine.’ – Phil Solomon
 

http://sightunseenbaltimore.com/

Date : 25/08/0012

Lieu : Sight Unseen Baltimore