From: ADAM ABRAMS (email suppressed)
Date: Tue Feb 20 2007 - 10:40:37 PST
<img src="http://a959.ac-images.myspacecdn.com/images01/56/l_a6efb7cc8daf87ae05cb9d4091ba6d8e.jpg">Jefferson Presents...7th Anniversary (#76)Friday 02/23/07, 8:00PM; $5, $4 Students; Garfield Artworks, 4931 Penn AvenueGeorge Kuchar:The Nocturnal Immaculation Two
men, two women, one God and many devils. Add a pinch of vengeance and a
dash of mental illness, let simmer with high ideals, then take a
mouthful and hang over the railing. 1980, 16mm, b&w/so, 27mYolanda Starring Michelle Joyce in her first color film with me. A
film about a housewife obsessed with the idea of a large hairy
creature, 12 feet tall, with big feet. Chronicles her eventual
breakdown in no uncertain terms.1981, 16mm, color/so, 22mRose Lowder:LES COQUELICOTS (POPPIES) Worn
out by the sea, the Sète fishing boats decide to spend a day in the
country amongst the poppies surrounding Arles, Bédarrides and the
Thouzon Grottos. 2000, 16mm, color/silent preferably 18 fps, 2.7 minutes VOILIERS ET COQUELICOTS (SAILBOATS AND POPPIES) Little
is necessary for everything to appear differently. The date, the hour,
the weather, the space's layout, one's glance or presence of mind…can
make everything change. The boats sail out of the Vieux port in
Marseilles to be amongst the poppy fields. 2001, 16mm color/silent preferably 18 fps, 2.6 minutes BOUQUETS 21-30 BOUQUETS
21-30 is a part of the ecological BOUQUETS series, consisting of
one-minute films composed in the camera by weaving the characteristics
of different environments with the activities there at the time. The
filming basically entails using the filmstrip as a canvas with the
freedom to Film frames on any part of the strip in any order, running
the film through the camera as many times as needed. Thus each bouquet of flowers is also a unique bouquet of film frames. BOUQUET
21 was filmed in a tiny paradise which took years to create, La
Baraque, an organic farm situated 2 kms from Aujac, in the far corner
of Gard, sandwiched between Lozère and Ardèche. BOUQUET 22
meanders over the mountain pastures near the summit of the Grand Perron
des Encombres, not far from a macrobiotic centre at Bettaix, in the
Belleville Valley, Savoie. BOUQUET 23 shows Terre Vivante, a
centre focusing on ecological issues,located on a site of fine
cultivated, or wild, flower and vegetable gardens strewn over a
hillside amongst ponds. Open to the public, it organizes numerous
events and publishes excellent books and a magazine. BOUQUET 24
was filmed in a pastoral setting around Beausite, an inn which provides
organic meals in its preserved 1912 ambience, in Chemin-dessus, on a
mountain slope 7 kms from Martigny, Switzerland. BOUQUET 25 was
shot in Cantal, around Le Tahoul, the Falgoux Valley and the Aulac
Pass. This reel mingles the few flowers uneaten by the Salers cows with
the village residents going about their affairs. BOUQUET 26 was
filmed in the middle of the animals of a small farm, La Terra di Mezzo,
perched on hillside terraces of Liguria, Italy. BOUQUET 27, moves
around a macrobiotic centre in St. Gaudens, Haute-Garonne. Amongst
glimpses of the surrounding countryside leading to the village of St.
Béat, it shows its residents working on the land, repairing items or
making rice biscuits. BOUQUET 28 takes place on a farm, Mas de
Cocagne, Aujac, Gard, which has developed from an abandoned coal-mining
area into an agricultural-ecological site over twenty-five years. The
topics include abundant floral vegetation, the Château d¹Aujac on the
hillside in the distance, work on the farm, builders erecting a roof,
washing being hung up and to end a contented frog amongst the pink
water lilies. BOUQUET 29 shows a very isolated 18th c farmhouse,
Fra Boyer, on the borders of the Forêt Domaniale de l¹Oule, near
Montmorin, Hautes-Alpes. The floral vegetation attracts numerous
butterflies and other flying insects, the family grow vegetables and
collect the cherries while two donkeys help themselves. BOUQUET 30
treats the farm of Le Lanteïrou, Champagne, near Les Vastes,
Haute-Loire. One sees the cows, the farmer by the house, a member of
the family in the bed he has built, complete with bedside lamp, under a
nearby tree, and an elderly neighbor walking between the two white
chairs set up at either end of her field amongst the vegetable patches.
2001-2005, 16mm color/silent preferably 18 fps., 14 min. HABITAT BATRACHIAN In
this film we move away from the notion of a work based on a
preconceived filming procedure adjusting the visual characteristiques
of the image in order to approach the temporal dimension of a pond full
of frogs. In front of such creatures that tend to be elusive there
arises a question of more general interest as to how can one record
moments that are meaningful, how can one render visible, present a
moment that is alive and connect the items forming the different
recorded moments up together?2006, 16mm color/silent, 24 fps, 8.31 minutes Curt McDowell:Boggy Depot (A Musical for the Whole Family) by McDowell and Ellinger. A rural operetta starring Ainslie Pryor and George Kuchar, told through song and rhyme. "I
was glad to see Curt McDowell's BOGGY DEPOT win an award, since it was
the funniest film in the festival, an off-key musical parody of West
Side Story ...." - Michigan Daily "In BOGGY DEPOT, Curt McDowell
and Mark Ellinger, aided by lampooned ballads and broad, properly hammy
acting, mercilessly rib the romantic musical genre." - The New York
Times 1974, 16mm, b&w/so, 17mNudes (A Sketchbook) "Curt
McDowell's NUDES (A SKETCHBOOK) is a paean to the filmmaker's closest
friends: a series of portraits (beginning with one of George Kuchar)
based on stylized, often graphically sexual interpretations of his or
her personality. My favorites are 'Barbara,' a pre-Raphaelite vision of
woman and 'Ainslie,' a musical spoof on glamour. The filmmaker's point
of view ranges from compulsively erotic to light-hearted and
self-debunking. A broad reading of the term 'romantic' would probably
best describe the spectrum of extreme, even outrageous, possibilities
which Curt embraces in this sketchbook/film." - Karen Cooper, Film
Forum "What is interesting about the film is how each vignette
constitutes a small, coherent narrative and thrusts a certain
psychological characterization on the figure it examines ....
McDowell's irony is submerged and gentle, and NUDES constitutes a
highly ambiguous (and fundamentally male) catalogue of sexual
probabilities." - Lucy Fischer, The Soho Weeky News "I was very
proud of him - he's finally made a film - NUDES - it's the first film
of his with any real feeling for his subject. That's the one - it's the
most personal, the one I'd like to see again." - James Broughton 1975, 16mm, b&w/so, 30m
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