From: ADAM ABRAMS (email suppressed)
Date: Wed Aug 22 2007 - 14:24:03 PDT
Jefferson Presents...#82
Sat. 08/25/07 9:00pm
$5, $4 Students
Garfield Artworks
4931 Penn Ave.
Pittsburgh, PA
Bruce BaillieQuick Billy
(1970) 16mm, color & b/w, sound, 56 minQUICK
BILLY: A Horse Opera in four reels, conceived for viewing with a single
projector, allowing the natural pauses between reels. The experience of
transformation between life and death, death and birth, or rebirth in
four reels. The'rolls' took the form of a correspondence, or THEATRE,
between their author and Stan Brakhage, in the winter of 1968-69.
They're kind of magic cousins of the film. A personal record of the
author's psychic journey and physical recovery during a period of his
life which might be described essentially as one of
transformation...'the dark wood encountered in the middle of life's
journey' (Dante)... As poetic cinema, its significance to the world is
perhaps in its narration of a singular phenomenon of our time,
implicitly revealing those ancient 'rules' of transit evolved over the
centuries; e. g., the BARDO THODOL (The Tibetan Book of the Dead), as
well as Dante Alighieri's own discoveries in the time of the Fourteenth
Century Europe, etc. The BARDO THODOL, from which Parts I-III are
adopted structurally, admonishes (the deceased)...'a time of
uncertainty, undertaking nothing -- fear not the terrifying forms of
your own psyche...' Mankind deceased encountering a spectacular stream
of images it once viewed as Reality. The film concludes with Part IV, a
western one-reeler, which dramatically summarizes the material of Parts
I, II, and III, in abstract form. All the film and tape was recorded in
Fort Bragg, California, next to the Pacific Ocean. A final subtitle
reads 'ever westward eternal rider.' Is it the image of Sisyphus or of
Buddha? A beautifully incoherent work of art! A journey towards unity
with this recent American film, both macroscopic and universal in its
view. -- Hans Helmut Rudele, Filmdichter und Luftpiloten, DIE ZEITUNG,
Hamburg, Dec. 12. 1970.
Larry GottheimBlues
(1970) 16mm, color, silent, 8.5 minA
bowl of blueberries in milk, changing light radiant on the berries and
on the glazed bowl, the ever more radiant orb of milk transforming into
glowing light itself, with a brief shadow coda answering the complex
play of shadows. The regular pulses of light framing the looser
rhythmus of the spoon, itself a frame. A charging of each of the
frame's edges with its own particular energy. Within and without,
whites and blues, lines and curves. The pulses of vision, the simple
natural processes, lift the spirit.--L. G.Doorway
(1971) 16mm, black and white, silent, 7.5 min"Perfect
works have a way of appearing unobtrusive or simple, the complexities
seeming to be so correct that they flow - mesmerize one through their
form - a form that bespeaks of harmony between many aesthetic concerns.
... Larry Gottheim's DOORWAY is such a film. His concern for working
with edges, isolating details, the prominence of the frame as a shape
and revealer of edges, love of photographic texture, are all dealt with
lucidly in this film. ... One is drawn into these beautiful images
through Gottheim's poetic feel for photographic qualities -- i. e.,
light, movement, texture -- his ability to transform a landscape
through his rigorous use of the frame to isolate in order to call
attention to a heretofore hidden beauty revealed through a highly
selective eye." -- Barry Gerson, Film Culture
Standish LawderDangling Participle
(1970) 16mm, black and white, sound, 17 minOrgan
Music by Bruce Lieberman. Made entirely from old classroom
instructional films, DANGLING PARTICIPLE offers a wealth of practical
advice on contemporary sexual hang-ups and where they come from. "The
funniest underground film I've ever seen." -- Sheldon Renan "Dynamite!"
-- Gene Stavis Award: Honorable Mention, Bellevue Film Festival
Dan PerzPull Focus
(1974) 16mm, color, sound, 11 min
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