Oddball Films welcomes artist, musician, and filmmaker Zach Von Joo for our Cinema Soiree Series, a monthly soiree featuring visiting authors, filmmakers and curators presenting and sharing cinema insights. This month, Zach Von Joo will be joining us on the Oddball Cinestage presenting several of his recent films in tandem with evocative works from the archive that resonate on similar film frequencies. Von Joo's approach to filmmaking ranges from the hyper-kinetic to the pensive and dreamy with an ethereal feeling of other-timeliness and vintage nostalgia. Von Joo utilizes a variety of cinematic techniques and mediums to achieve his multi-layered cine-poetry including shooting in 8mm, 16mm, and video and using optical printing, hand processing, superimposition, kaleidoscopic editing, and digital manipulation. His work has been screened at the San Francisco International Film Festival, The Roxie and Secret Alley, and now he's taking on Oddball with a slew of secrets to experimental filmmaking. The evening's films include Empire Row, a hyper-speed survey of condo-culture intermixed with found footage of glamourous showgirls and ballet dancers, Behold! featuring a barrage of thousands of still images cultivated from 16mm film (many from the Oddball collection) over a period of years, The Bells of Spring, a film which draws upon kitsch, ritual, and religion with a soundtrack composed of the gentle ringing of church bells, and Bequeath the Heart, a personal film of uncovering the secrets of the past and establishing connections with the departed. 16mm selections from the archive include Kenneth Anger's semi-Satanic cinematic ceremony Invocation of my Demon Brother (1969), Arthur Lipsett's Very Nice, Very Nice (1961), a culturally disruptive montage of still images and his first film nominated for an Academy Award, Caroline and Frank Mouris' Oscar-winning Frank Film (1973) is a stunning stop-motion collage animation of nearly 12,000 images cut out of magazines, and Ken Rudolph takes us through the history of Art in eight pulsing minutes in Gallery (1969) with electronic music sound score by Clockwork Orange composer Wendy Carlos.
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Oddball Films welcomes artist, musician, and filmmaker Zach Von Joo for our Cinema Soiree Series, a monthly soiree featuring visiting authors, filmmakers and curators presenting and sharing cinema insights. This month, Zach Von Joo will be joining us on the Oddball Cinestage presenting several of his recent films in tandem with evocative works from the archive that resonate on similar film frequencies. Von Joo's approach to filmmaking ranges from the hyper-kinetic to the pensive and dreamy with an ethereal feeling of other-timeliness and vintage nostalgia. Von Joo utilizes a variety of cinematic techniques and mediums to achieve his multi-layered cine-poetry including shooting in 8mm, 16mm, and video and using optical printing, hand processing, superimposition, kaleidoscopic editing, and digital manipulation. His work has been screened at the San Francisco International Film Festival, The Roxie and Secret Alley, and now he's taking on Oddball with a slew of secrets to experimental filmmaking. The evening's films include Empire Row, a hyper-speed survey of condo-culture intermixed with found footage of glamourous showgirls and ballet dancers, Behold! featuring a barrage of thousands of still images cultivated from 16mm film (many from the Oddball collection) over a period of years, The Bells of Spring, a film which draws upon kitsch, ritual, and religion with a soundtrack composed of the gentle ringing of church bells, and Bequeath the Heart, a personal film of uncovering the secrets of the past and establishing connections with the departed. 16mm selections from the archive include Kenneth Anger's semi-Satanic cinematic ceremony Invocation of my Demon Brother (1969), Arthur Lipsett's Very Nice, Very Nice (1961), a culturally disruptive montage of still images and his first film nominated for an Academy Award, Caroline and Frank Mouris' Oscar-winning Frank Film (1973) is a stunning stop-motion collage animation of nearly 12,000 images cut out of magazines, and Ken Rudolph takes us through the history of Art in eight pulsing minutes in Gallery (1969) with electronic music sound score by Clockwork Orange composer Wendy Carlos.
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275 Capp Street, San Francisco, CA 94110
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