wagga space program

The Fresh Prints

New acquisitions from the National Film and Video Lending Service, at the National Film and Sound Archive
Presented by Otherfilm for Unsound06, Friday November 10, Wagga Wagga Civic Theatre from 8pm

Charlemagne 2: Piltzer
16mm | France | Dir: Pip Chodorov | 2002 | 22 min

“On December 9, 1998, Charlemagne asked me to bring friends to his piano concert at an opening at the Gérard Piltzer gallery in Paris, and to bring a movie camera.” (To create the finished film, and) “following a precise notation of the concert music, I chose the following principles: the 6945 notes played in the concert correspond to 6923 frames of super-8 film that were shot; speed of playing controls speed of frame succession; flicker between negative and positive, between opposites on color wheel (blue/yellow), between opposites in retinal cone sensitivities (red/green), left/right screen masking and mirror image printing, crossfading between negative and positive images; When more than two notes are played, the additional colors correspond to the complexity of sound frequencies. The final result is at once a diary film, a document of the concert, a structural flicker film, a hand-processed film, a graphic representation of music, and an attempt to apply cognitive principles in sensation and perception to film art.” – Pip Chodorov. (Source: Canyon Cinema catalogue)

16mm | UK | Dir: Gill Eatherley | 1971 | 13 min

“During a voyage by boat to Finland, the camera records three minutes of black and white 8mm of a woman sitting on a bridge. The preoccupation of the film is with the base and with the transformation of this material, which was first refilmed on a screen where it was projected by multiple projectors at different speeds and then secondly amplified with colour filters, using postive and negative elements and superimposition on the London Co-op’s optical printer.” – Gill Eatherley. (Source: LUX catalogue)

16mm | UK | Dir: William Raban | 1973 | 6 min |9070164

“Diagonal is a film for three projectors, though the diagonally arranged projector beams need not be contained within a single flat screen area. This film works well in a conventional film theatre when the top left screen spills over the ceiling and the bottom right projects down over the audience. It is the same image on all three projectors, a double-exposed flickering rectangle of the projector gate sliding diagonally into and out of frame. Focus is on the projector shutter, hence the flicker. This film is ‘about’ the projector gate, the plane where the film frame is caught by the projected light beam.” – William Raban, Perspectives on British Avant-Garde Film catalogue, 1977. (Source: LUX catalogue).

Dresden Dynamo
16mm | UK | Dir: Lis Rhodes | 1974 | 5 min

This film is the result of experiments with the application of Letraset and Letratone onto clear film. It is essentially about how graphic images create their own sound by extending into that area of film which is ‘read’ by optical sound equipment. The final print has been achieved through three, separate, consecutive printings from the original material, on a contact printer. Colour was added, with filters, on the final run. The film is not a sequential piece. It does not develop crescendos. It creates the illusion of spatial depth from essentially, flat, graphic, raw material.’ – Tim Bruce (Source: LUX catalogue)

The Girl Chewing Gum
16mm | UK | Dir: John Smith | 1976 | 12 min | B&W | 9070163

”In The Girl Chewing Gum an authoritative voice-over pre-empts the events occurring in the image, seeming to order not only the people, cars and moving objects within the screen but also the actual camera movements. The resultant voyeurism takes on an uncanny aspect as the blandness of the scene (shot in black and white on a grey day in Hackney) contrasts with the near ‘magical’ control identified with the voice.” – Michael Maziere, John Smith’s Films: Reading the Visible. (Source: LUX catalogue). An addictive film – its very simplicity ensures it will engage with all audiences from film students to film societies.

On the Marriage Broker Joke

16mm | USA | Dir: Owen Land | 1977 | 18 min

The full title of this film by Owen Land (formerly known as George Landow) does much to describe its style: “On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and its Relation to the Unconscious or Can the Avant-Garde Artist Be Wholed ?”
“Two pandas, who exist only by textual error, run a shell game for the viewer in an environment with false perspectives. They posit the existence of various films and characters, one of which is interpreted by an academic as containing religious symbolism. Finally, Sigmund Freud’s own explanation is given by a sleeper awakened by an alarm clock.” – P. Adams Sitney (Source: LUX catalogue)

Parallel Space: Inter-View
16mm | Austria | Dir: Peter Tscherkassky | 1992 | 18 min | B&W

“Originally, I had a strict, formal concept. The visual space of the Renaissance locked in the optics of the film. In front of our eyes the landscapes of the film spread out and allow themselves be conquered; a constellation which is then subverted by letting the hardware and the software slip minimally. In addition, I took the psychoanalytic setting and drew a comparison with the cinema setting. Film makers produce a very intimate flow of pictures which are met with highly concentrated attention but still fall into the anonymity of the audience…” – Peter Tscherkassky. (Source: Sixpack Films website)