Saturday, March 5, 6 pm
$10 nonmembers; $8 members and students
The International Experimental Cinema Exposition
Join us for an all new 2011 edition of The International Experimental Cinema Exposition (TIE). The special two-part film program highlights work by internationally renowned artists’ in 16mm and also includes a selection of new work by Boston filmmakers.
The TIE programs draw attention to work on original celluloid-based film and brings together celebrated talents from different generations of filmmakers.
TIE’s 2011 Boston program is curated specifically for the ICA by TIE Founder Christopher May, who will introduce the program.
The following Boston experimental filmmakers will be available for Q+A: Luther Price, Nicky Tavares, Adam Paradis, Kyle Glowacky Saul Levine, and Robert Todd.
PART 1: Triple Feature
COLD FRIED CHICKEN
(16mm, 1 min., 2010)
COLD FRIED CHICKEN is named after fried chicken that is left over and usually cold fried chicken taste as good as or better than freshly fried chicken because the ingredients have time to combine. This makes the flavor more intense than it was the day before.
THE SOUL OF THINGS
(Silent, 16mm, 15 min., 2010)
William Denton is one of the early pioneers exploring the art and science of psychometry. Psychometrics believes that every object emits a field of energy. That energy can transit its entire history through touch. That is every brick contains the history of what happened inside its walls and outside its walls and at the same time its own history of creation. If one is sensitive enough this energy field of historical information can be transferred and one can obtain a complete knowledge of its history. In my case the touching is filming. In our urban landscape we are continually destroying our past through destruction of buildings and replacing them with artificial man made materials. Hence removing us from our very history. William Denton performed many successful experiments in the field of psychometry documented in one of his books called The Soul of Things.
IN MICHAEL'S HOUR
(Optical Sound, 16mm, 15 min., 2008)
"My filmic answer to Kenneth Anger's "Lucifer Rising."
The Michael of the title is the miltant Archangel described in the books of "Genesis" and "Revelation." In the film he holds the balance between warring forces of diabolism (Nazi Germany) and materialism (Great Britain) represented in handpainted, scratched and chemically treated period newsreels. The statue seen in the film is "Fighter for the Spirit" by the German sculptor Ernest Barlach who was persecuted by the Nazis as a degenerate artist.
I painted the last three minutes of the film the week filmmaker Stan Brakhage died in 2003 and the film is dedicated to him, and to my father who grew up during WWII."
COLOR FILMS 1, 2 & 3
(Silent, 16mm, 14 min., 2010)
These three films come from a series of 6 that form one work, The Color Series. Each film fades between colors. They are made without a camera, using only the lights of the printing process at the lab. The fades are slow enough that they engage the viewer in a dialogue about the border between the work and his or her own perception of it. The subject of the work is duration and color is the medium through which we experience it. The converse is also true: the subject is color and duration is the medium. The effect is a direct experience of time and vision.
PART 2: New Cinematic Portraits by Boston Filmmakers:
LIGHT LICK: DAILY CAMERA
(Silent, 16mm, 6 min., 2010)
"Levine’s latest film in his Light Lick series, DAILY CAMERA, is on one level a flickering, ecstatic, and lyrical portrait of Boulder, Colorado. On a deeper level, it is yet another exquisite manifestation of Levine’s quest to merge the fundamental qualities of cinema(light and the arbitrary projection of individual frames) with life itself. This film is not about how the world is, but rather what the camera can turn the world into." -Frankie Symonds
Q+ A with Saul Levine
(Optical Sound, 16mm, 7 min., 2010)
A portrait film shot during sunset at the end of winter, full of the joys of melancholy. Inspired by the late-19th-century romantic musical form, the albumblatt - a short, spontaneous, and improvisational piece.
Q+A with Paul Turano
(Optical Sound, 16mm, 10 min.)
This film is about the attempt to delay decay amid partial repeat and retreat, re-treated tracings to face the dissipating cyclone of the spirit.
Q+A with Robert Todd
DAMAGE CONTROL (aka-Bullwinkle Film)
(Optical Sound, 16mm, 4min., 2010)
This film began as an experimentalrestoration of a hypothetical parody; Jay Wards’ Bullwinkle does Peter Kubelka. Carved from a large reel containing only credit sequences from The Bullwinkle Show, it was proclaimed “junk” by one collector, but later declared “Damage Control” by another. In other words, this was not simply a reel of scraps, but material used at one time to maintain print quality for broadcast. The challenge of balancing the creative process with the effort to produce a viewable and projectable print deeply inflected the making of this film, and is a reflection of the ongoing efforts of both archivists and filmmakers to keep works alive. Re-spliced and rebuilt several times, this film at times became more of a restoration process than a creative one. In a sense, the film represents a work of experimental archiving. Q+A with Adam Paradis
CALL ME BY HEART
(Optical Sound, 16mm, 2 min. 2010)
A handmade film constructed out of the Boston White Pages and family mementos collected from estate sales, Call Me by Heart commemorates the publicly listed residential phone number while reflecting upon changing perceptions of public and private information. Q+A with Nicky Tavares
(16mm, 10min., optical sound, 2010)
Q+A with Luther Price
(2010, 16mm, sound, 20 min.)
IOKA is a portrait of Exeter, New Hampshire's historic 1915 movie house. It recently closed down in 2008 due to the strict state fire codes and the need for upgrades. Q+A with Kyle Glowacky