From: ADAM ABRAMS (email suppressed)
Date: Tue May 23 2006 - 10:41:26 PDT
----------------------------------------
> Date: Tue, 23 May 2006 09:58:41 -0700
> From: email suppressed
> Subject: Jefferson Presents Saturday, MAY 27 program
> To: email suppressed
>
> Jefferson Presents ... NEXT SCREENING:
>
> WHEN: Saturday, May 27, 2006, 9PM
> WHERE: Garfield Artworks 4931 Penn Ave.
> HOW MUCH: $5/$4 students, seniors
>
> 1. Alfredo Leonardi - Libro di Santi Roma Eterna (Book
> of Saints of Eternal Rome) (1968) 16mm, color, sound,
> 14-1/2 min.
>
> "...Leonardi's subject matter is happiness and joy,
> through the choice of image, and through the editing
> (structuring) and through the camera movement, and the
> more I see this film the more I want to see it again.
> "The Book of Saints of Rome" is in my book of living
> classics." --Jonas Mekas, The Village Voice, Oct. 23,
> 1969.
>
> 2. Tom Dewitt - Fall (1971) 16mm, color, sound, 18-1/4
> min.
>
> "What is most powerfully effective in FALL is the
> extraordinary sophistication of DeWitt's visual
> techniques, his graphic eye, and his complex designs.
> Because each unit of the exposition is so
> painstakingly conceptualized and nurtured, an audience
> is afforded a unique kind of purview on the elements
> as they are reconstituted in the more complex
> overlays. Thus the early, Magritte-like compositions
> of eye and sky establish basis for later more
> complicated efforts .... Color changes worked on given
> images (the bird, the sky) avoid the
> oversimplifications of hues/cues. Certain effects, as
> when clouds pass through the falling body which is
> outlined in flaming orange, can only be described as
> awesome. ... [A] work of immense dedication and
> exceptional skill." -- John Fell
>
> 3. Rudolph Burckhardt - Sodom and Gomorrah, New York
> 10036 (1976) 16mm, color, sound, 6-1/4 min.
>
> A documentary about the sex industry around 8th Avenue
> and 42nd Street
>
> 4. Henry Hills - Porter Springs 3 (1977) 16mm, color,
> silent, 5-1/2 min.
>
> These beautiful, intricately animated reflections were
> unfortunately shot in ECO which has proved to be
> remarkably unstable, turning blue before I had an
> internegative made. Therefore, this is one of only
> three prints of this "elegant and serene experience"
> (Pat O'Neill).
>
> 5. Gary Doberman – The Moieties (1978) 16mm, color, ,
> 9 min.
>
> "... where beads of light searching out 'the beloved'
> do pulse with the beat of the filmmaker's heart in
> perfect contrapuntal rhythm with all else in the frame
> of that sequence." -- Stan Brakhage, World Film
> Festival of Canada
>
> 6. Charles Wright - Sorted Details (1979) 16mm, color,
> sound, 12-1/2 min.
>
> Shared shape, color or movement links each of these
> varied fragments of urban landscape with the next.
> Each sight has its own naturalistic ambient sound, as
> the film yanks you from spot to spot and moment to
> moment.
>
> "One is repeatedly surprised and delighted watching
> Wright's films, the world is constantly being
> discovered, its secret harmony is perpetually
> revealed." -- Marjorie Keller, Idiolects #8
>
> 7. Henry Hills - Radio Adios (1982) 16mm, color,
> sound, 10-1/2 min., with George Kuchar as a Maoist
> revolutionary.
>
> A superabundance of useless information effectively
> subdues freedom of speech. Condense and survive!
>
> RADIO ADIOS is a monologue in 12 plaited strands; an
> extremely precise, condensed and intensely rhythmic
> Busby Berkeleyish spectacle of an examination of
> conversational and literary language over a fair range
> of vocal timbre, microphones, volume settings and
> single-system sync peculiarities and its dissolution
> into music to the accompaniment of simultaneous
> Manhattan ambiences punctuated by fragments of jazz
> ... personalized handheld camera movement, movement
> from cut to cut -- juxtapositions of scale, pulsating
> changes in light intensity, a varying palette of
> various filmstocks, generations, etc., at an
> appropriately furious pace and in strict one-track
> sync ... offering simultaneously several levels of
> apprehension or interpretation to encourage multiple
> viewings. Text published in O.ARS/3: Translations
> (Cambridge, 1983).
>
> Brakhage says it's real.
>
> 8. Carolee Schneeman - Viet-Flakes (1966) 16mm, b&w,
> sound, 11 min.
>
> VIET-FLAKES was composed from an obsessive collection
> of Vietnam atrocity images I collected from foreign
> magazines and newspapers over a five-year period.
> Magnifying glasses from the "5 & 10" were taped onto a
> borrowed 16mm Bolex in order to physically "travel"
> within the photographs - producing a rough animation.
> Images in and out of focus, broken rhythms and pans,
> the abstracted shapes and motions, speeding perceptual
> contradictions. For instance, a pointillism of falling
> black specks in focus becomes bombs dropping through
> the sky; an impressionistic swirl of tones translates
> as faces of US soldiers leading barefoot villagers
> from a gas-filled tunnel; a "Rembrandt ink drawing"
> focuses in as a tank dragging a roped body ....
>
> 9. Michael Snow - Breakfast (1972-76) 16mm, color,
> sound, 14-1/2 min.
>
> Shot in 1972 and shelved until 1976, when sound and
> editing problems were solved. All the varied and
> unusual motions visible on the screen are the result
> of a single camera movement.
>
> "WAVELENGTH before breakfast. A continuous zoom
> traverses the space of a breakfast table, serving as a
> grand metaphor for indigestion." -- Deke Dusinberre
>
>
>
>
> Jefferson Presents...
> Movies for YOU
> http://www.geocities.com/jeffersonpresents
>
> __________________________________________________
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