#film programme

[mudwerks]

Sign of the Pagan/ Attila (1954)

Cover page of a film programme by Das neue Film-Programm, (unnumbered). Jack Palance in Sign of the Pagan/ Attila (Douglas Sirk, 1954). 

[rattisbooks]

Expanded Cinema : Tyburnia 

Thursday, 13 July 2017, 9pm, The Old Church, London 

A live film soundtrack by Dead Rat Orchestra, James Holcombe and Lisa Knapp

Inaugurating the 2017 Tyburnia Tour, Rattis Books is pleased to present the opening iteration of Tyburnia live film and soundtrack performance by James Holcombe, Dead Rat Orchestra and Lisa Knapp. ‘There had been a hanging tree at Marble Arch called the Tyburn Gallows. For over 700 years this district was regularly used as a site for the execution of men, women and children, and its estimated that over 40,000 people were killed there. In addition to a gallows there was a gibbet and whipping post, and a large fixed stone, which is marked on John Rocque’s 1746 map of London with ‘here soldiers are shot’, presumably for desertion. The name Tyburn (or Tyburnia) comes from the ‘lost’ river Tyburn which traversed the area, [..] a site where the desires of the State, Church and Capital, to discipline and punish, were played out on a regular basis. The sheer horror of what lay in the archive prompted [James Holcombe] to start to make a film and explore the notion that the ‘lesson’, as Peter Linebaugh describes it in his book The London Hanged, is still being taught: that money, capital, and the power structures which surround them are still just as determined to protect their interests in this period of late capitalism as they have been throughout history.’ [1]

Shot on 8mm and 16mm film, the work drifts through artefacts associated with the Tyburn; reliquaries housing the remains of catholic martyrs, body parts preserved by surgeons, the bell that tolled on the eve of executions, and the eventual resting place of the gallows themselves. For this iteration, James Holcombe will be utilising multiple film projectors for an expanded cinema performance of the work featuring physical manipulation, optical distortion, and live destruction of film. Dead Rat Orchestra in collaboration with award winning multi-instrumentalist and singer Lisa Knapp, will perform a live soundtrack featuring songs composed by or for those condemned to 'dance the Tyburn jig', bringing a new understanding to broadside ballads that have become a staple of folk music, but here presented in close association to their original context.

The shadow of the Tyburn Tree extended well beyond London, with gallows, whipping posts and gibbets in many market and county towns. To explore this rich and melancholy history Tyburnia will be performed as close to the location of various regional gallows as possible.

[kraakfestival2014]

FOLDING CITIES (Tyler Hubby) Folding Cities is een vormexperiment van Tyler Hubby waarin hij kwartslag gedraaide beelden van Manhattan versmelt met viooldrones van Tony Conrad. Niet toevallig onderhoudt de filmmaker en monteur een sterke band met de muziekwereld. Hij monteerde onder andere een documentaire over Bad Brains, documenteerde vele legendarische minimalisten verbonden aan het Table of the Elements-label en werkt momenteel aan Completely into the Present, een langverwachte documentaire over Tony Conrad. AS CANÇÕES DE PELE (Lieven Martens Moana) As Canções De Pele is een experimentele film van Lieven Martens Moana en zijn muze Wietske Van Gils. De romantisch-modernistische film is een aaneenschakeling van poëtische landschappen die een lucide natuurervaring schilderen in een opeenvolging van synesthetische tableaux vivants. Martens toont zich in de geluidsband opnieuw een meester in eigentijdse compositie en elektronica. As Canções De Pele ('liederen van Pele’) is documentaire over de gezangen en bewegingen van een onbestaand vulkanisch eiland. Elk van de vier hoofdstukken wordt gezongen godin Pele. Als dusdanig, verpersoonlijkt ze verschillende vormen, machten en lijnen.

FOLDING CITIES (Tyler Hubby) A formal experiment and a brain melting synesthesia experience in which Tyler Hubby melts quarter rotated images of Manhattan with viola drones of Tony Conrad. It’s no wonder that the film maker and editor has a strong connection to the music world. He edited a.o. a documentary about Bad Brains, documented a lot of the legendary minimalists related to the Table of the Elements label, and he is currently working on Completely into the Present, a long awaited docu about Tony Conrad. AS CANÇÕES DE PELE (Lieven Martens Moana) As Canções De Pele is an experimental film by Lieven Martens Moana, the man behind Dolphins Into The Future. In this romantico-modernistic film poem landscapes literally shift as if a delirious nature experience is captured in a sequence of synesthetic tableaux vivants. The soundtrack is a master piece of contemporary composition translating endogenous sound to electronic world music. As Canções De Pele  ('The Songs of Pele’) is a documentary, tracing the songs and movements of an imaginary volcanic island. It’s a film in four chapters, sung by the goddess Pele. As being a Hula Dance, personating certain shapes, forces and lines.

[euphio]

(via Metropolis: A Rare Film Programme for Fraitz Lang's 1927 Masterpiece)

[filmontherocksyaonoi-blog]

Film Programme for SONGS FROM THE BOTTOM OF THE OCEAN - March 12th 2012

Alice in Wonderland 

(with music by John Coltrane)

Cecil Hepworth

8 mins

Percy Stow

Titanic Footage

(with soundtrack by Christelle Lheureux and Apichatpong W)

6.36 mins

  Peter Pan

(with LIVE music by Simon Fisher Turner)

Herbert Brennon

105 mins

[filmontherocksyaonoi-blog]

Film Programme for SKY - March 11th 2012

Short Films From Yao Noi Workshops

Local children 

N/A

  Lucrecia and Maria's Residency Film

Lucrecia Martel

N/A

Powers of Ten

  Charles and Ray Eames

9 mins

Shadow is Not the Absence of Light

  Vimukthi Jayasundara

1 min

Mae Nak Phrakanong

  Rangsee Tasanapayak

104 mins

[filmontherocksyaonoi-blog]

Film Programme for DREAMS - March 10th 2012

You Should be the Next Astronaut

Charles de Meaux

1 min

Free Radicals

Len Lye

5 mins

Portrait of GA (DVD)

Margaret Tait

4 mins

Private Property (Public Domain)

Shellie Fleming

12.05 mins

The Unchanging Sea

DW Griffith

14 mins

No Form*

Tsai Ming Liang

20 mins

Pescados

Lucrecia Martel

4 mins

Valentin de las Sierras

Bruce Baillie

10 mins

In the Street

Helen Levitt

16 mins

Film Achive Showpiece

7 mins

Dajang Soembi, the Woman Who Was Married by a Dog

Edwin

7 mins

The House is Black

Forough Farrokhzad

20 mins

Neighbours

Noman McLaren

8 mins

Music Video: The Micronauts-The Jag

Gregg Araki

3.30 mins

*world premiere.

[twocurators]

VOL.2

FILM PROGRAMME

Mark Leckey

The March of the Big White Barbarians, 2006. Video, colour, sound 5 min. 

Emily Richardson 

The Plaza, 2010. Video, colour, sound 4 min. 

Daniel McClennan 

Crash 4, 2011. Video, colour, soun 4 min 

Manon de Boer 

Dissonant, 2010. 16mm film, colour, sound 10 min transferred to DVD.

Engaging with anthropomorphism, appropriation and choreographed movement,Echoes in the Vessel: Disembodied voices, Embodied objects, and Lost Body Partsbrings together artist practices which manifest the transformative potential of moving image mediums and how this can affect the portrayal of their subject. Here bodily representations extend beyond the onscreen presence of characters within a narrative and places become more then just backdrops. Instead they become a material manipulated by the artist, a process that is directed by the possibilities and limitations of the medium, from the archaic and tactile 16mm film to the contemporaneous and intangible digital files on film streaming websites. The films refuse generic cinematic tenets and instead dislocated narratives, material manipulation and disjunctive editing illuminate otherwise hidden stages of production, as the act of filmmaking is both enacted and portrayed and alternative corporeal associations are unearthed. The result is work where both what is recorded and what records are equally a point of focus.

Mark Leckey’s multi-disciplinary practice works to appropriate the objects and models of contemporary histories, environs and experience to transformative affect. Through actions as disparate as the meticulous compilation of archival footage to performances which lend mysticism to ordinary objects, the artist activates unexpected potentialities in his materials. Leckey’s juxtapositions bring disparate codes and seemingly incongruous objects into parlance. March of the Big White Barbarians sees still images of London’s desultory, often homogeneous public sculptures paced to the syncopated beats of Maurice Lemaitre’s concrete poetry, interpreted within a free translation by Leckey’s band, Jack too Jack. The sculptures are articulated by the atavistic rhythms and descants of the soundtrack in a satirical panegyric. They become a series of increasingly consonant forms, whose purposes and identities are anonymous to both their indifferent publics, and the lens of the camera.

Emily Richardson's films examine how activity and movement reveal the history of any given location. Traversing a diverse range of landscapes including empty East End streets, forests, North Sea oil fields, post-war tower blocks and Cold War military facilities Richardson deconstructs place and time. The Plaza is part of The Cinema Series, a series of single shot films made in independent cinemas. The films are all shot using the same technique: a single 360 degree shot from the centre of an empty cinema, the continuity of which generates a distilled viewing experience. As the shift from 35mm to digital projection systems takes place the position of these cinemas is increasingly fragile. This uncertainty is reflected in the films as each shot is time-lapsed, accentuating the absence of an audience. However the viewpoint is more akin to that of the projectionist. The interactive cinematic atmosphere is therefore removed: the emptiness is at once edifying and poignant. Sound was recorded in the projection booth resulting in a cacophony of past projections. The Plaza, located in Stockport, is a restored 1930’s Art Deco cinema, complete with working Wurlizter organ. Using light as an activating agency, Richardson’s focus on cinematic architecture considers how cultural histories are inscribed within place. Her manipulation of time, space and sound endeavours to resurrect forgotten pasts, charting how spatial utility has altered with the development of new technologies and customs.  

Daniel McClennan creates video work as well as sound and moving-image environments that investigate the transformational potential inherent within the process of presenting footage of events, exposing the tension between the ‘real’ and its subsequent representation. Crash 4 is part of a current series of work which utilises un-stylised footage of traumatic events such as a jet plane plummeting towards the ground at an air show or a sports car spinning out of control on a race track. These clips are appropriated from video streaming websites and then transformed through an editing process and the addition of an accompanying sound track through software routinely utilised by amateurs and professionals alike. These huge masses of mechanical hardware now move ponderously across the screen like a burning piece of paper or a leaf lifted off the ground and just before the impending catastrophic impact the footage segment loops back on itself, suspending the object within a cycle of repetitions. The spontaneous un-stylised reality turns into unearthly poetic vision of a tragic ballet creating a tension between the traumatic event and the discomforting and displaced spectacle of its presentation.

Manon de Boer’s films reflect an acute attention to detail and the intersecting relationship between sound and image. A fascination with visible or audible forms of memory and their relationship with the body has developed across her practice. WithDissonant De Boer focuses upon dancer Cynthia Loemij as she performs a 10 minute response to Eugène Ysaÿe’s Three Sonatas for Violin. Dislocating the musical score from choreography Loemij only begins dancing after Three Sonatas has played out. Capturing this response on 16mm film, De Boers draws attention to the presence of a body through the medium of sound. As Leomij dances her breathing and incidental mutters, that are released as she performs, become the new audible score to her movements. The use of the 16mm film also provides its own set of limitations to the overall piece, with the length of the film roll (three or four minutes) directly influencingDissonant’s temporality. Refusing to edit out of the final work the changeover of new film rolls, the length of each shot is determined through the context of the length of the film roll, whilst the sound recording maintains narrative of the piece during the absence of images.

Curated by VOL.*

  [email protected]