Screenings 2: Chronoschisms
Friday, October 16 2009 / 15:00 Filmtheater 't Hoogt, Hall 1 “’The movie projector’s a kind of clock’, Ed Bachelor said. Somewhere inside the machine beats a Piranesi space, shaped and given dimension by a string of exposures of a seated woman undulating gravity-free. Who is the alluring lady of this filmstrip tease? I call her Dinah, because the name contains a D, an N, and an A”. – Ken Jacobs Modern cinema is a reflection of the rationalization and standardisation of time. The amazement caused more than a century ago by the possibility of recording and analyzing movement has given way to an obsession with imitating “real time”. The certainties of progress and predictability, the two pillars of capitalist modernity, have also shaped the construction of cinematographic time. This programme features a selection of works that subvert the mimetic function of audiovisual media, and intervene - via mechanisms of variation and repetition - in the epistemological process of fragmentation that constitutes the basis of the conventional cinematographic vision.  Fred Worden (USA, 1972, 16mm, 7:00 min) (works) Found footage of circuses, fairgrounds and car crashes is repeated, distorted and layered, brought to the point of destruction and then back again, recoalescing to a hypnotic, ...  Malcolm Le Grice (United Kingdom, 1970, 16mm, 11:00 min) (works) “This film is largely filmed with an exploration of the film medium in certain aspects. It is also concerned with making certain conceptions about time in a ...  Chris Garrat (United Kingdom, 1976, 16mm, 11:00 min) (works) "For this film I made a contact printing box, with a printing area 16mm x 185mm which enabled the printing of 24 frames of picture plus optical ...  Iván Zulueta (Spain, 1972, 16mm, 3:00 min) (works) Filmed before Arrebato, Zulueta’s Frank Stein is a very personal reading of horror cult classic Frankenstein (James Whale, 1931), filmed directly from its television broadcast and reducing Whale’s ...  Joyce Wieland (Canada, 1967-68, 16mm, 6:00 min, mute) (works) This film is composed of cut-away shots that Wieland filmed for a proposed documentary on a West Virginia job training center. Wieland dyed this leftover footage, added ...  Bruce Conner (USA, 1972, 16mm, 10:00 min) (works) Out of fifty feet of footage from a girlie 1950s movie (Apple Knockers and the Coke, featuring Arline Hunter, an actress who clearly attempts to impersonate Monroe), Conner ...  Ivan Ladislav Galeta (Croatia (SFRY), 1987-88, 16mm, 9:00 min) (works) In Water Pulu we see a game of water polo. The cameras keep the ball in the middle of the picture (an effect achieved by multiple exposure, ...  Ken Jacobs (USA, 2009, video, 13:00 min, mute) (works) “It was a set-up. A couple walks towards the camera, a sidewalk air-vent pushes the woman’s dress up. Layers of cloth billow and she is mortified. The ...  Rafael Montañez Ortiz (USA, 1993, video, 10:00 min) (works) "In my video work, I seek to suspend time, to magnify beyond all proportion the fantasy, dream, or nightmare I glimpse in even the most realistic straightforward ...  Norbert Pfaffenbichler (Austria, 2007, 35mm, 9:30 min) (works) The third part of Pfaffenbichler’s ‘Notes on Film’ series, which borrows its title from a combination of Fernand Leger’s Ballet Mécanique and Peter Kubelka’s Mosaik in Vertrauen. ... |
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