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Hände: Das Leben und die Liebe eines Zärtlichen Geschlechts, Stella F. Simon & Miklos Blandy, 1927-1928, 13 min, 16mm

Les photos d'Alix, Jean Eustache France, 1980, 19 min, 35 mm

Free Radicals, 1958/1979, 16mm, N&B, 4 min, sonore, ÉUA

Extract

Rhythm, Len Lye, 1957, 16mm, N&B, 1 min, sonore, ÉUA

Tom Tom, the Piper's Son, Billy Bitzer, 1905, N&B, 10 min, muet, ÉUA

Film original utilisé par Ken Jacobs pour son film Tom Tom the Piper’s Son en 1969. Bande sonore ajoutée arbitrairement

(), Morgan Fisher, 2003, (b. 1942), couleur et N&B, 20 min, muet, ÉUA

Films constitué entièrement de plans de cinéma dits plans “inserts”

"Fisher's most film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of "inserts" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when star actors, large crews, or expensive sets were not needed. These include details of weapons, wounds, letters, signs, tombstones, machinery, games of chance, timepieces, money, and even intimate caresses. Fisher culled the inserts from a number of films he collected for that purpose and edited them together under constraints he does not fully reveal; he places the inserts from a given film in the order in which they appeared in that film, but two inserts from the same film never follow each other directly in his assemblage. Alternating among them we catch glimpses of violence, intrigue, high-stakes gambling, and sexual adventure." (P. Adams Sitney, Medium shots: the films of Morgan Fisher, in: ArtForum, January 2006)

Everyday, Hans Richter, 1929, 16 min, 35 mm, sonore, Royaume-Uni

Cosmic Ray, Bruce Conner, 1950, 4", 16 mm, N&B, sonore (Ray Charles), ÉUA

Preview a newly restored version of Bruce Conner’s 1976 masterpiece Crossroads

Bruce Conner, Crossroads, 1976, 37", 35 mm transcodé en vidéo, N&B, sonore (Patrick Gleeson, Terry Riley)

A Movie, Bruce Conner, 1958, 12", 16 mm, N&B, sonore (Pins de Rome, Ottorino Respighi)

Interlude, Joost van Veen, 2005, 2″30, 16 mm, sonore (Chris Cole / Many Fingers)

Berlin Horse, Malcolm Le Grice, 1970,6″30, 16mm, sonore (Brian Eno)

L'œuvre est destinée à être projetée sous forme d'installation à deux écrans, le film traité étant à gauche, la version N&B du film à droite.

Berlin Horse, Malcom Le Grice, 1970.

Simulation du dispositif

Holiday in Brazil, Nester Amaral, Mayfair Records / , 1957, vinyle 78T.

Deux morceaux de cet album servent de bande sonore au film Rose Hobart - The Eclipse de Joseph Cornell : “Porte Alegre” et “Belem Bayonne”

A1 Brazil 0:00 A2 Pra Que Discutir 2:42 A3 Currupaco 5:42 A4 Porto Alegre 7:54 A5 Ba Tu Ca Da 11:28 A6 Tico Tico 14:08

B1 Playtime in Brazil 17:09 B2 Baia 20:30 B3 Nossa Amizade 24:46 B4 Belem Bayonee 26:45 B5 Bamba No Samba 29:47

The Eclipse - Rose Hobart, Joseph Cornell, 1936, muet avec bande sonore extérieure ajoutée, N&B teinté, 17″25, 16 mm (attention bande sonore ici présente incorrecte)

Bande sonore : “Porte Alegre” et “Belem Bayonne”, Holiday in Brazil, Nester Amaral, 1957, vinyle 78T.

Original film: George Melford’s East of Borneo, 1931

Distribué en trois versions : (teintée rose, teintée bleue, N&B à diffuser au travers d’une vitre teintée rose ou bleue)

Light Cone

Version rose visible : https://www.filmpreservation.org/preserved-films/screening-room/rose-hobart-1936#

Impatience, Charles Dekeukeleire, 1928, 36″, 35 mm, N&B muet

Dreams that money can buy, Hans Richter, 1947, ÉUA, 99″, Technicolor, 1,37:1, son mono.

Contributions de Max Ernst, Marcel Duchamp, Man Ray, Alexander Calder, Darius Milhaud et Fernand Léger.

Prix de la contribution la plus originale au progrès du cinématographe au festival international du film de Venise en 1947.

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