Friday November 13 at Spectacle Theater: Millennium Members Show

MFW Members Show eFly Tall copyProgram includes:

ZULEIKA DOBSON; Catherine Corman; 2.41; digi
MARIETTA; Adele Friedman; 5.00; 16MM
BABEL; Margot Niederland; Theremin Music: Llamano; 4:40; digi
EAST RIVER PAVILION, UPPER EAST SIDE, NYC; Barton Lewis; 3:04; 16MM to digi
WISCONSIN CHEESE QUILT 1; Peter Kingsbury; 3.00; digi
STARFISH AORTA COLOSSUS; Lynne Sachs and Sean Hanley; 4.30; 8MM to digi
THE DOGS OF SPACE; designed by Michael Betancourt; 3:00; digi
THE GAME IMPROVES AS A SPECTACLE; Guy Kozak; 2.26; Super 8 /animation to digi
SNEAKING UP ON PEOPLE; Jonathan Mittiga; 3:00; digi
IN THE FOOTSTEPS; Jacob Burckhardt; 13.04; 16mm to digi
GUILTY; George Spencer; 3:33; digi From a perfomance in Berlin, 2014
[T] ; Philippe Leonard; Sound by Jefre Cantu-Ledesma; 12.00; digi
ALVARO; Jean Sousa; Music: A.Vitorino d’Almeida, Lyrics: Jose Saramago, Sung by: Misia; 6.13; digi
SUHAIL AND THE ONE HAVING CROSSED OVER; Anna Kipervaser; sound: Freesound/Yle Archives & Anna Kipervaser; 5:55
ALICE IN WONDERLAND; Catherine Corman; 4.00 digi

Regular Millennium screenings are hosted by Spectacle Theater in Williamsburg, Brooklyn. Spectacle is located at 124 South 3rd Street, Brooklyn, New York, between Bedford Avenue and Berry Street (map and directions). Subway: Bedford Avenue stop on the “L” line. Admission $5.

This is a Members show of filmmakers from MILLENNIUM FILM WORKSHOP. There is no theme, no style, no philosophy or anything that connects these works together. Each presents an individual filmmaker work through their own personal cinema.    – Lili White, curator

Program Notes…

PROGRAM NOTES:

ZULEIKA DOBSON; Catherine Corman; 2.41; digi

MARIETTA; Adele Friedman; 5.00; 16MM
“Marietta” was filmed in Vienna, Austria, in an apartment building that has been in her family since the aught years of the 20th century. The film is in black and white, which suits the interior of mementoes and heirlooms, family portraits and souvenirs of eras past. Yet Marietta is extremely energetic and contemporary in her approach to life.

BABEL; Margot Niederland; Theremin Music: Llamano; 4:40; digi
A meditation on the consistency of change. I shot this footage on 16mm film and double exposed it in-camera. During my residency at The Experimental TV Center, I used one of their old analogue machines and turned its dials and knobs to create the effects.

EAST RIVER PAVILION, UPPER EAST SIDE, NYC; Barton Lewis; 3:04; 16MM to digi
A study of a rusting steel truss bejeweled with flaking paint at the East River Pavilion.

WISCONSIN CHEESE QUILT 1; Peter Kingsbury; 3.00; digi
This is quilted from still and moving digital captures I made at a Wisconsin cheese and root beer oasis. Over several months I had become fascinated with my wife’s art practice transition from painting to quilting. Pondering images from our recent transcontinental road trip, I suddenly thought of quilting them -though I could not imagine the process or result. I still can’t -which is a refreshing change in my art practice. I have plans for more quilts. I find that sewing timelines raises interesting questions about drama and decoration.

STARFISH AORTA COLOSSUS; Lynne Sachs and Sean Hanley; 4.30; 8MM to digi
NYC poet Paolo Javier invited Sachs to create a film that would speak to one of his poems from his book COURT OF THE DRAGON (Nightboat Books). Sachs chose Stanza 10 from Javier’s poem “Starfish Aorta Colossus”. She then collaborated with film artist Sean Hanley to edit the film. Together, they traveled through 25 years of unsplit Regular 8 mm film that Sachs had shot— including footage of the A.I.D.S. Quilt from the late 1980s, a drive from Florida to San Francisco, and a journey into a very untouristic part of Puerto Rico. Through-out the process, they explore the syntactical ruptures, the celebration of nouns and the haunting resonances of Javier’s poetry.

THE DOGS OF SPACE; designed by Michael Betancourt; 3:00; digi
This narrative fuses documentary, scientific, fictional and abstract glitch footage into a composite story, dramatizing the launch of two Soviet space dogs, Belka and Strelka, into orbit. It explores glitch and realism, where the two are held in tension against each other: a balance between the abstracting and representing functions of digital imaging. In this trajectory between realism and the geometric, the formal dimensions of digitally encoded motion transform live action footage into something else by shifting between the surface flatness of pixels and their organization into particular, recognizable subject matter. This engagement is distinctly semiotic: recognizable imagery as signifier (earlier, quoted work) in an arrangement and context that changes the meaning of concepts such as “Heavens and Earth” to provide a visionary subtext to scientific exploration. The immanent identification provided by archival material is essential. By using twentieth century scientific and public domain footage, these explicit quotations enable a synthesis, drawing attention to my reuse. Glitching functions syntactically in this fusion; linking shot-quotations while at the same time providing inflection that changes the imagery’s meaning separately from issues of montage or sequence. The continuous flow of imagery is precisely the point to this process: there is only a limited distinction between one “shot” and the next, eschewing montage for the continuity of the long take—data stream of the digital file. The results are neither edited nor animated, but a hybrid recognizable as the “morph” where one image becomes the next seamlessly by degrees of change over time. These technically- generated transformations give rise to both the abstracting and representing dimensions of the imagery equally.

THE GAME IMPROVES AS A SPECTACLE; Guy Kozak; 2.26; Super 8/animation to digi
A contest between Yellow and Blue and another phase in Guy Kozak’s ongoing exploration of the aesthetics and psychology of American Football. Shot on the field in Super 8.

SNEAKING UP ON PEOPLE; Jonathan Mittiga; 3:00; digi

IN THE FOOTSTEPS; Jacob Burckhardt; 13.04; 16mm to digi
A trip through Jordan, following the footsteps of Jean Louis Burckhardt, the explorer who was the first European to see Petra in hundreds of years. Shot in 16mm B&W, in 2009

GUILTY; George Spencer; 3:33; digi From a perfomance in Berlin, 2014

[T] ; Philippe Leonard; Sound by Jefre Cantu-Ledesma; 12.00; digi
[T] is a film at the limit of cinema, an experiment in the moving image where stillness and movement converge on each other to produce an experience of time as space. Philippe Leonard shot the footage for this remarkable work at Times Square, in New York City, during the hours of artificial illumination. Partly for this reason, it is an oneiric diary, tempted by myth and, at the same time, suffused by a melancholy sense that myth has lost its magical power. Faces appear and disappear in spasmodic waves of light, which emanate from billboards and mobile telephone screens and confuse the boundary between the organic and the artificial. The dilation of time and the miniaturization that that enables in [T] also ensures that the momentary betrayal of excitement, suspicion, attraction, hesitation, boredom and relief that traverses these faces approaches pure physicality. A smile, a blank stare, a fluttering eyelash: what the film permits us to encounter in these isolated elements is a materiality drained of eroticism, a society of bodies beneath the neon signs, where the market has abducted everything and everyone. The meticulously edited image track is brilliantly echoed in a sound track that renders the underground subway as a haunting residue and subtext. Times Square is a stop on the subway line; [T] is a film that arrests the mania of that space, giving to the viewer a rare experience of visual redemption.”   – Rosalind Morris

ALVARO; Jean Sousa; Music: A.Vitorino d’Almeida, Lyrics: Jose Saramago, Sung by: Misia; 6.13; digi
A meditation on loss, based on a poem written by Alice Goncalves Sousa about the death of her brother Alvaro. Using Nature used as metaphor for the fragility of life and including archival photographs and material objects left behind by one who passed, it embodies the spirit of Fado, Portugal’s urban folk music.

SUHAIL AND THE ONE HAVING CROSSED OVER; Anna Kipervaser; sound: Freesound/Yle Archives & Anna Kipervaser; 5:55
Before he was known as Canopus, he was called Suhail. And before that his name was Osir-is. In all documented cases, he had two sisters, one of whom was left behind. She always signals the coming of an other, bigger than she. Their legend lives on to this day; each night the two sisters mourn him – and their separation – across the great heavenly river.

ALICE IN WONDERLAND; Catherine Corman; 4.00 digi

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