TIE Retrospectives at San Francisco Cinematheque:
The San Francisco Cinematheque hosts two programs featuring highlights from TIE's previous film festivals, with TIE Director / SF Cinematheque guest curator, Christopher May, in person.
"TIE has quickly become an exemplary festival celebrating contemporary and historical avant-garde cinema. Taking as its mission "the preservation of the fundamental qualities of cinema and film exhibition", TIE produces festivals which, to date have screened over 600 films and hosted over 200 artists. TIE is renowned for artistic vision and an exaltation of the direct viewing experience of original-format film works." - San Francisco Cinematheque
Program One Line-up:
Sunday, Feb. 4, 2007 (Yerba Buena Center for the Arts) 7:30 PM
The Sequent of Hanna Ave.
(Sami Van Ingen, Finland, 2006, 35mm-Scope, 5 min., Dolby Digital Sound)
"The Sequent of Hanna Ave. is the result of my reworkings of some experimental film practices and my inquiries in to the phenomena of the movement-illusionism in the film form. By combining found footage, hand processing and hi-end digital technology, I elevate a few mundane gestures to a new perceptible wholeness, and give some fat fingers and a c-cassette tape all the attention, grace and drama they deserve."
Careless Reef Part 2 - Abu Kifan
(Gerard Holthuis, Netherlands, 2005, 35mm-1:85, 7 min., Dolby SR Sound)
"In a static underwater adventure, award-winning Dutch filmmaker Gerard Holthuis presents an unusual revision of a traditional aquatic journey. Oceanic films generally focus on the explosive life force of coral reefs. They are typically defined by the frenzied darting of fish, and the bizarre movements of coral. This film subverts these time-honored tenants through visually presenting the reef in ultra-slow motion. Movements are so slow that the entire order of the aquatic world is changed. The dynamic of the school is also called into question within the film. It opens with a retracted point-of-view where the entity of the reef is visually defined as a collective. This focal point shifts to an individual fish that emerges from the anonymity of the collective. Holthuis presents this paradigmatic shift in a way that is richly ambiguous, rendering it unique fodder for contemplation." -Noah Manos, TIE
Telco Systems composed the score.
Hwa-Shan District Taipei
(Bernhard Schreiner, Austria / Germany, 2001, 16mm at 24fps, 13min, Optical Sound)
"Bernhard Schreiner’s Hwa-Shan District, Taipei is a finely articulated work: A veritable arsenal of devices – shifts in focus, fades, editing techniques (of course) – were used to make a certain place – Schreiner’s place, in Taipei – suitable for a film. Hwa-Shan is here and now,
an industrial wasteland. Brush is slowly choking a brewery which was apparently closed long ago, like a subway tunnel at the end of which one can see the sections still in use. This is surrounded by everyday life focusing on a short-order restaurant. The visual devices are often more closely related to the texture of the sound-track than what is happening on the screen: Tension is created, meaning is found, then com-pressed further into an experience, both emotion and life. The material nature of things, each one of them, is met with a respect both beautiful and appropriate." - Olaf Möller
Röntgenfilm I – Das Verdauungssystem (X-ray Movie I - The Alimentary System)
(Fleisch Archive, Germany, 1936, 16mm at 24(actually 22)fps, 11 min., Silent)
The first of several of Prof. Robert Janker’s x-ray films. He was a pioneer of x-ray cinematography working closely with the industry to supply him with the equipment he needed for making his films.
(Sheri Wills, USA, 2001, 16mm at 24fps, 4 min., Optical Sound)
"A lyrical abstraction, Anodyne explores red-gold and sepia-cyan color fields created with photograms, then animated through 16mm rephotography and digital manipulation. My fascination with the handmade, the awkward and sentimental is at odds with the contemporary medium with which I work."
Pan of the Landscape
(Christopher Becks, Canada, 2005, 16mm at 24fps, 10 min., Silent)
“Pan of the Landscape begins with a gratifyingly sensuous feeling of closeness in which rapid and organically organized bursts of colored shapes express the essence of human affection. These compelling, even alluring glyphs gratify and even transfix the viewer in a way that wipes away all awareness of the quotidian world, just as happens in the most rewarding of human relationships. Yet then, suddenly and inexplicably, those shapes and colors start moving much more slowly and mechanically, or they utterly freeze in time, or they become partly hidden behind black silhouettes, revealing the earlier intimacy as illusory, as an emergent mechanical prison surrounds the film with a dreadfully complete Silence. This pattern recurs again and again, presenting a cyclical trap from which there seems to be no escape: its elements make themselves wonderfully present, and then again withdraw into unpredictably long periods of absolute uncommunicativeness that, while not pleasing in themselves, gain a terrible power in contrast to the intimate installments.” - Fred Camper
The General Returns from One Place to Another
(Michael Robinson, USA, 2006, 16mm at 24fps, 11 min., Optical Sound)
"Learning to love again, with fear at its side, the film draws balance between the romantic and the horrid, shaping a simultaneously skeptical and indulgent experience of the beautiful. A Frank O'Hara monologue (from a play of the same title) attempts to undercut the sincerity of the landscape, but there are stronger forces at play."
(Jason Livingston, USA, 2006, 16mm at 24fps, 3 min., Optical Sound)
JULY FIX is an in-camera film that swoons and falls and settles. It’s July, a month for sending and getting sent, and honeybees buzz for pollen.
'..."the overall effect being that of a pet dog's POV on acid in a field of beautiful flowers.' - JT Rogstad, TIE
The Velvet Underground and Nico - A Symphony of Sound
(Andy Warhol, USA, 1966, double-panel 16mm projection at 24fps, 33 min., Optical Sound -The projectionist switches from one optical track to the other throughout a performative-like projection.)
The Velvet Underground established an aesthetic so extreme and alien that even after three decades, the world has yet to catch up. The film documents The Velvet Underground and Nico rehersing noisy beats at the Factory and contains uncharacteristic wild camera work and psychedelic zooming (by Paul Morrissey). The piece records a visit from the NYPD, acting on a noise complaint, and reveals Warhol in negotiations with a cop as the band members mill about.
(Luther Price, USA, 2002, Super-8, 20 min., Sound on Cassette)
(Frank Biesendorfer, Germany / USA, 1997-2004, Super-8 at 18fps, 17 min., Silent)
This five-film collection delicately presents a taste of Biesendorfer's personal Super-8 work from the past ten years. Each film is untitled and edited entirely in camera.