Spring 2002

 


CU Student Show (February 18)

Et Tu by Rita Bertolli (16mm; Color; sound; 1min; 2001)
0.96 oz by Noah Arnold (16mm; sound; 3 min; 2000)
Bautismo by Casey Koeler (16mm; sound; 05:30; year?)
Sponatneous Combustion of Lex, The by Casey Koehler (16mm; sound?; 2 min)
Ranga by Casey Koehler (16mm; 1 min)
Psalm 38 by Ben Kronberg (16mm; sound; 4 min; 1998)
Epithalamium by Ben Kronberg (16mm; sound; 6 min; 1999)
Arc-en-CL by Christopher Loucks (16mm; silent; 07:30; 2000)
Atmosphere by Christopher Loucks (16mm; silent; 8 min; 2002)
Autumnal Trilogy by Ryan McVeigh (16mm; silent; 10 min; 2001)
Doctors, Schmoctors by Noah Arnold (video; sound; 3 min; 2000)
Music Video for Steve Reich by Rick Silva (video; sound; 05:30; year?)
Cut by Maureen Tzudiker (video; sound; 4 min; 2000)
FrankenChrist by Shannon Kelly (video; sound; 02:05; year?)
Nazis to the Moon by Shannon Kelly (video; sound; 3 min; year?)



Philip Rowe (March 4)


Philip Rowe has had many careers over several lives. An innate modesty enhanced by his New England upbringing leads him to aver that he was probably never the best mailman, waiter, scholar, soldier, writer, college teacher, father, or computer programmer who ever strode the plains of Denver, where he now lives, but he still clings stubbornly to the belief that no Front Brakeman ever rode a roller coaster with more panache. In moments of darker candor he will concede that when he was in high school his job, ushering at the local movie house, almost certainly turned the direction of his life downhill. He saw every movie made during that two year period, and developed a significant addiction. Later, the heroin of mainstream movies was to become mixed with the purer essence of experimental film. Sometime in the early 90's he experienced a day much like the one in his movie, which is one reason the principal character is named "Phil." The Speckled Band, five years in the making, is his first film. Film to be shown: The Speckled Band (16mm, sound, 92 min, b/w and color, 2001) Sherlock Holmes would have known how to handle it. He, at least, had a real snake and a real villain for whom to deduce solutions. But Phil faces evil and tragedy in an age where reason is not always helpful. A beloved daughter in peril, two parents at the hospital--someone has to go home, feed the pets, water the plants: middle-class life's simplest, most routine daily tasks, no longer ordinary because every object, sight, and sound is now charged with significance, at least, to a fellow like Phil who has a tendency toward self-dramatization, anyway, and more of a taste for metaphysics than his head ought to have to deal with in such moments. So--a bad day, and thinking about Sherlock, while waiting with hope and dread for the definitive call from the hospital pay phone, is as much a flirtation with madness as a remedy for it. On a day like this, we should not be surprised by pratfalls and poetry, self-pity, stoicism, and terror.

Film to be shown
The Speckled Band (16mm, sound, 92 min, b/w and color, 2001) Sherlock Holmes would have known how to handle it. He, at least, had a real snake and a real villain for whom to deduce solutions. But Phil faces evil and tragedy in an age where reason is not always helpful. A beloved daughter in peril, two parents at the hospital--someone has to go home, feed the pets, water the plants: middle-class life's simplest, most routine daily tasks, no longer ordinary because every object, sight, and sound is now charged with significance, at least, to a fellow like Phil who has a tendency toward self-dramatization, anyway, and more of a taste for metaphysics than his head ought to have to deal with in such moments. So--a bad day, and thinking about Sherlock, while waiting with hope and dread for the definitive call from the hospital pay phone, is as much a flirtation with madness as a remedy for it. On a day like this, we should not be surprised by pratfalls and poetry, self-pity, stoicism, and terror.



Diane Kitchen (March 18th)

Bio: Diane Kitchen's work ranges from documentary to abstraction. She teaches filmmaking at the University of Wisconsin-Milwaukee. Films to be shown: ROOTS THORNS - Filmed on a third visit with the Ashaninka, a people who live in the tropical forest of eastern Peru. Having previously completed a documentary that outlines Ashaninka life and culture, this film is more impressionistic, the vision more metaphoric. NOTCH - In the rugged southern Appalachian Mountains the narrow passages or dips are known as notches. WOT THE ANCIENT SOD - "Diane Kitchen's new tour-de-force creates a stream of intimate portraits of leaves dancing in the sun's light." --Steve Anker, San Francisco Cinematheque PICTOR - Black and white flaring abstractions.

Films to be shown:
ROOTS THORNS - Filmed on a third visit with the Ashaninka, a people who live in the tropical forest of eastern Peru. Having previously completed a documentary that outlines Ashaninka life and culture, this film is more impressionistic, the vision more metaphoric.

NOTCH - In the rugged southern Appalachian Mountains the narrow passages or dips are known as notches.

WOT THE ANCIENT SOD - "Diane Kitchen's new tour-de-force creates a stream of intimate portraits of leaves dancing in the sun's light." --Steve Anker, San Francisco Cinematheque

PICTOR - Black and white flaring abstractions.



Ken Jacobs (April 8)

Born: May 25, 1933. Hans Hofmann School of Fine Arts, 1956-57, 1959. Created/Directed The Millennium Film Workshop, 1966-68.; S.U.N.Y at Bringhamton, started Dept. of Cinema, 1969; Prof. of Cinema, 1974-2000; Distinguished Prof. 2000. Grants: (a selection) D.A.A.D, 1986; N.Y.S.C.A., 1989; Maya Deren Award, 1994; J.S. Guggenheim Fellowship, 1995; National Endowment for the Arts, 1995; The Rockefeller Foundation Grant, 1999; N.Y.F.A., 2001.

Film and/or Film Performance:
(a selection) Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997; film and film-performance retrospective, American Museum of the Moving Image, 1989; New York Film Festival at Lincoln Center, 1991, 1998; Film-performance, Image Forum, Japan, 1992; semi-retrospective





Mark McElhatten (April 22)

Mark McElhatten has been programming film and video since 1977. He currently is the co -curator of the annual Views from the Avant-Garde at the New York Film Festival and Image Innovators at Lincoln Center. He contributed 99 programs of film and video to the American Century Part II at the Whitney Museum of Amercian Art and was the curatorial consultant for film and video for the upcoming Whitney Biennial 2002. He has curated special programs for the Rotterdam International Film Festival over the last three years and for this year he is programming a ten part retropsective on the work of Stan Brakhage and two new editions of the HOUSE OF INSTANTS , the first of these programs from 2000 has been touring the U.S. McElhatten was previously an Associate Curator at the American Museum of the Moving Image, the Program Director for The Collective for Living Cinema in NY and Boston Film Video Foundation, and the Acting Program Director (for two consecutive calendars) of the San Francisco Cinemateque. Among the notable programs over the last decade or so have been Views from New York at the Cinemateque Francaisein Paris, Sideshow of the Century at the George Eastman House in Rochester,Conspiracies at Exit Art NY.Burning in the Gate at AMMI and God Doesn't Care What Movies I Watch ( a six hour plus marathon) at the SF Cinemateque and the ongoing Penumbra and The Walking Picutre Palace Programs.As a filmmaker he has made among other things Submersion of the Temple and Specialities of a Residency Above the Cloud.

Boulder edition: LES OMBRES ERRANTS (the wandering shades, the wandering shadows)curated and presented by Mark McElhatten

Featuring work by Jerome Hiler and Nathaniel Dorsky, Leighton Pierce, Saul Levine, Minyong Yang, Bruce Baillie, Ernie Gehr, Scott Stark and tba.

The Walking Picture Palace is a nomadic screening series that I Originated in the mid to late 1990's. This series was comprised of films that were premieres, revivals and unannounced surprises, intuitive combinations of the old, the new and the unknown. The title was meant to refer to the mobile displacement and intermittent nature of the series bereft of a permanent home.The title itself conjurs up an imaginary peripatetic architecture.A luxuriant temple of cinema from another time unmoored in continous eviction from it's foundation walking perhaps on legs like stilts.Think of a Janie Geiser or Winsor McKay illustration. It also refers to us phenomenological, biological humans . As viewers. We are percieving,imagining,housing memory ,screening images, ambulatory.We are walking picture palaces.I also had in mind a historical figure known only as the Leatherman, a heartbroken itinerant who in his obsessive quest never spoke aloud and circumnavigated a tight circuit of towns in a perpetual loop. But that as they say is another story...

This program will include:

Two Gifts, Fools Spring - Jerome Hiler and Nathaniel Dorsky (1966 and 67) 5 minutes. Rarely seen responsorial birthday gifts.Fervent "untouched"miniatures." The first of the these 100 ft camera rolls is also by chance Jerry's first film.It's tenderness of vision and openess of form changed forever my sense of what filmmaking could be.Two months later I attempted a response."ŠNathaniel Dorsky

Light Licks: Get It While You Can - Saul Levine (2001) 6 min. One of a series of films called Light Licks which are made frame by frame often flooding the camera with enough light to spill beyond the gate into frames left unexposed. Light Licks are ecstatic flicker films inspired by jazz and mystic visionary practice. I Saw The Light -Praise the Dark."- Saul Levine

The Dark Room - Minyong Yang (2001) A mysterious film of compound simplicity. The vision swims in the eidolons and impossible watercolors of obscure aquamarines. The ocean pours delicately through a periscope revolving into a concave upended world of projection. Vertiginous tidal ceilings and the stratosphere at our feet. -M.M.

The Back Steps - Leighton Pierce (2000) The Back Steps is somewhere between a home movie and spirit photography. Pierce calls it an exercise in folded time.The phantasmal whisked light presence1s of two young daughters descending a staircase tread on the edge of dematerialization. With their textures like crinkled iridescent cellophane or dancing vapors,these girls rotate in slivers of Parenthetical time and space.Cycles of nuanced repetition and evaporation continue until they are delivered into the inviting darkness of a charmed and hallowed night. (M.M.)

Water Seeks It1s Level (St.Pons) - Leighton Pierce (2002) Panning for gold (and red,green and blues) near an abandoned monastery in France. An optical oasis. A grace period. Bright whispers of flesh and shimmering. Seeking the moisture in everything. Alternating currents of movements crossing in fluid time. Listen. Look. A collage without edges. What would you call the daytime equivalent of a nocturne set in opal bathing in crystal clear sunlight? Or seasons that changes in mid-sentence? -M.M

Here I Am - Bruce Baillie.(1962) 11 min. A rediscovered Baillie film.

Untitled Part One 1981 - Ernie Gehr (1981) 28 min. Immigrants, inhabitants,guests on earth. Espied.Raked against gravity, decelerating, frail, animated,blazing at "twilight". Testing the carrier waves the eloquence and tensile strength of throw away mortal gestures.The language of the streets. Personality evident in every fragment of the anatomy and in the strange and vanished palette and pattern of their clothes. A film of intimate scrutiny loving regard and hard edged invention.

A Fall Trip Home - Nathaniel Dorsky (1964) 11 min. " a sad sweet song of youth and death of boyhood and manhood and ourtender earth." ŠN.Dorsky.

Angel Beach - Scott Stark (2000) 27min. Anonymous 3Dphotographs of bikini clad women from the early 1970's are compressed into a two dimensional cinematic space triggering an exuberant dance and revealing a troubling and elegiac voyeurism. Incarnations free spirits take physical form in young mortal bodies on Northern Californian beaches.Their initial movements are mere flittering gestures and awkward extensions of elbows,knees,and shoulders;these are joyful innocents unused to the strictures of the human body,joyful in the wonderment of first physical sensation.Freshly sprung form the ethereal chrysalis,they set to work,busily burrowing and crafting three dimensional baffles,channels and passageways through a screenspace that is too shallow to contain their neophytic exuberance." - Scott Stark



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