PROGRAM 5 — 67 min – July 27, 2011 8PM —
SPECIAL THANKS to Kathryn Ramey for bringing her 16MM print to tonight's show!
8pm Anthology Film Archives
After the screening join us for conversation at White Rabbit – 145 East Houston Street
SORROW; Liliana Resnick; 13.40; 16mm
Every war has its end. Only, every war has its beginning too. In 2003 during the war on Iraq, an American reservist refused his wife’s advice to flee the country rather than being activated for duty in war. “I’ll come back” he said. When he returned he told to his wife, ”I trained for war, I was even looking forward to it. Now I wish I had never seen it. I cannot bare to be alive.”
“The footage for this film is in two parts: the documentary of demonstrations against the war in Iraq from 2003 in San Francisco, and a fictional story which depicts a woman losing her husband. I decided to make a short film which will tell a story of a journey which knows its end from its very beginning. Although demonstrations against the war were strong, focused, eloquent, and well organized, they did not change the course the U.S. government set up for the events to come.”-L.R.
EVERY MORNING WE WERE AWAKENED; Gia Michael; 4.32; digi
This work is part of a larger film entitled 'DISINHERITED EARTH.' this chapter is a reflection on notions of religion as motive and the construction of identity. The work is an investigation into the dichotomies of convention, ancestry, and cultural inheritance. The project blends factual and fabricated personal and collective histories to allow another layer of narrative emerge from the captured dialogue and poetry by the artist.
YANQUI WALKER & THE OPTICAL REVOLUTION; Kathryn Ramey; 33.00; 16mm
This film explores a now-obscure American expansionist and military dictator, William Walker, who through military force and coercion became president of Nicaragua in 1856. The film blends found footage, documentary photography, ethnographic inquiry, and personal travelogue with experimental film techniques such as hand-processing, optical printing, and time-lapse to detour and derail the various approaches to history-making that have been applied to this story. Yanqui WALKER as a contemporary work of film art, not only tells us something about history and how it connects to current political, social and economic situations but also how art and poetry can be a means to subvert and transcend even the most oppressive of narratives.
RICE RELIEF; C+A Projects (Carolyn Radlo & Alanna Simone); 2:52; Digi
C + A Projects is Carolyn Radlo & Alanna Simone live in San Francisco and collaborate on projects which deal with social and political situations through the lens of their own particular experience, communicating through sparse text and evocative imagery. Rice Relief is a stop-motion animation rumination about food, rank, and privilege. http://thecarolynandalannashow.com
A MOVIE BY JEN PROCTOR; Jennifer Proctor; 12:00; Digi
A loving remake of Bruce Conner’s seminal 1958 found footage film, “A MOVIE” uses appropriated material from YouTube and LiveLeak; and provides a parallel narrative that explores the changes in historical and visual icons from 1958 to 2010 – and those images that remain surprisingly, and delightfully, the same. It comments on the pervasiveness of footage available for appropriation in an online world, and the way disparate threads in the YouTube and LiveLeak databases can be assembled to create “a movie.”
8pm Anthology Film Archives
After the screening join us for conversation at White Rabbit – 145 East Houston Street
SORROW; Liliana Resnick; 13.40; 16mm
Every war has its end. Only, every war has its beginning too. In 2003 during the war on Iraq, an American reservist refused his wife’s advice to flee the country rather than being activated for duty in war. “I’ll come back” he said. When he returned he told to his wife, ”I trained for war, I was even looking forward to it. Now I wish I had never seen it. I cannot bare to be alive.”
“The footage for this film is in two parts: the documentary of demonstrations against the war in Iraq from 2003 in San Francisco, and a fictional story which depicts a woman losing her husband. I decided to make a short film which will tell a story of a journey which knows its end from its very beginning. Although demonstrations against the war were strong, focused, eloquent, and well organized, they did not change the course the U.S. government set up for the events to come.”-L.R.
EVERY MORNING WE WERE AWAKENED; Gia Michael; 4.32; digi
This work is part of a larger film entitled 'DISINHERITED EARTH.' this chapter is a reflection on notions of religion as motive and the construction of identity. The work is an investigation into the dichotomies of convention, ancestry, and cultural inheritance. The project blends factual and fabricated personal and collective histories to allow another layer of narrative emerge from the captured dialogue and poetry by the artist.
YANQUI WALKER & THE OPTICAL REVOLUTION; Kathryn Ramey; 33.00; 16mm
This film explores a now-obscure American expansionist and military dictator, William Walker, who through military force and coercion became president of Nicaragua in 1856. The film blends found footage, documentary photography, ethnographic inquiry, and personal travelogue with experimental film techniques such as hand-processing, optical printing, and time-lapse to detour and derail the various approaches to history-making that have been applied to this story. Yanqui WALKER as a contemporary work of film art, not only tells us something about history and how it connects to current political, social and economic situations but also how art and poetry can be a means to subvert and transcend even the most oppressive of narratives.
RICE RELIEF; C+A Projects (Carolyn Radlo & Alanna Simone); 2:52; Digi
C + A Projects is Carolyn Radlo & Alanna Simone live in San Francisco and collaborate on projects which deal with social and political situations through the lens of their own particular experience, communicating through sparse text and evocative imagery. Rice Relief is a stop-motion animation rumination about food, rank, and privilege. http://thecarolynandalannashow.com
A MOVIE BY JEN PROCTOR; Jennifer Proctor; 12:00; Digi
A loving remake of Bruce Conner’s seminal 1958 found footage film, “A MOVIE” uses appropriated material from YouTube and LiveLeak; and provides a parallel narrative that explores the changes in historical and visual icons from 1958 to 2010 – and those images that remain surprisingly, and delightfully, the same. It comments on the pervasiveness of footage available for appropriation in an online world, and the way disparate threads in the YouTube and LiveLeak databases can be assembled to create “a movie.”
posted by Eye Am at 7:19 AM
0 comments
