The Man We Want to Hang

PIXILLATION

"With computer-produced images and Moog-synthesized sound Pixillation is in a sense an introduction to the electronics lab. But its forms are always handsome, its colors bright and appealing, its rhythms complex and inventive." - Roger Greenspun, N. Y. Times. Golden Eagle-Cine 1971. Moog sound by Gershon Kingsley; Version III: pulls the viewer into a primal experience. Awards:Red Ribbon Award for Special Effects from The National Academy of Television, Arts & Sciences; The Smithsonian Institution and The United States Department of Commerce, Travel Services for Man & His World at the Montreal Expo, '71; collection The Museum of Modern Art. Commissioned by AT&T. (4 min.)





UFO'S
Music by Emmanuel Ghent. "UFO'S proves that computer animation--once a rickety and gimmicky device--is now progressing to the state of an art. The complexity of design and movement, the speed and rhythm, the richness of form and motion, coupled with stroboscopic effects is unsettling. Even more ominously, while design and action are programmed by humans, the 'result' in any particular sequence is neither entirely predictable ... being created at a rate faster and in concatenations more complex than eye and mind can follow or initiate." - Amos Vogel, Village Voice. Awards: Ann Arbor-1971; International award-Oberhausen, 1972; 2nd Los Angeles International Film Festival; Museum of Modern Art collection; Commissioned by AT&T. (3 min.) (3 min.)

The Notes of a Lady
Private Hungary 8

We travel 'a la rechereche du temps perdue' with Baroness Jeszenszky, and her forgotten Hungarian aristocrat film diary, from her Buda villa to their Castle in Tolna County . The reanimated images of the past enchant us, the estate, the park, the harvest, the servants, the travels, the dogs the neighbors visits, the peasants, the hunting, the marriage, or all the pomp. As red ivy shines the disappeared universe of the aristocracy from the scratchy films. The world of the aristocracy sank like an Atlantis when the Big World War burned the land and later the Communist nationalized what's left …

I lost the link from where i took this but it is not my writing.









Decaying bourgeousie I love, you love it, we love it what is there more to be said? A lovely found footage film of the Private Hungary series by Péter Forgács.

This interesting Dutch documentary offers a look, via archival film clips, at Dutch colonialism in Indonesia during the early 20th century. These old films were made to educate people in Holland about activities in the West Indies and include shots of native religious ceremonies and daily habits, as well as propagandistic shots of the natives being "civilized" by the colonists who avoided native ways as much as possible during their stay there. The film is not narrated so as to let viewers draw their own conclusions. The soundtrack is comprised of Indonesian music and songs as well as several spoken poems. -- Sandra Brennan

http://www.allmovie.com/cg/avg.dll?P=avg&srch=MoederDaoDeSchildpadgelijkende&type=2













The anthropological of this film is beyond reason, and it is a beautiful film to watch, the last days of a deas civilazation, westerned by force, much like all of the colonies of the european countries. At least we have residues of lost dreams of exotic voyages to watch in our bourgeois chair or couch. Surely not to be missed, have fun finding it!

Bartosch was born in Bohemia in the actual Czech republic in 1893, in 1920 he moved to Berlin, where he later met silhouette animator Lotte Reiniger, Bartosch worked with her, on the film 'The Adventures of Prince Achmed'. In 1930 started working on the adaptation of The Idea a book of woodcuts published by Frans Masereel in 1920, Masereel's 'novels without words' where very famous in the 1920's in Germany, it seems that Ruttman's Berlin: Symphony of a City was completely inspired on a woodcut book by Masereel called 'The City'.

Masereel first worked with Bartosch, but after a few weeks he dropped out of the project after seeing how tedious work animation was, so Bartosch continued working alone during 2 years to complete the animation, 45.000 images were animated on sheets of glass with washtinted blacks and soap, with 100 Watts light bulbs illuminating the work, his work study was 10 x 12 feet and half the space was filled with the sheets of glass which were disposed in some kind of workbench.

Bartosch was one of the first persons to demonstrate animation could be poetic, when the film came out in 1932, the newspapers refered it has 'Masereel's L'idée' not recognizing all the painfull work Bartosch went trough. This is the solely surviving film of Bartosch, he later made Cosmos, a 109 minutes film, which the Gestapo destroied. One of the greatest and most forgotten genius of animation together with Alexander Alexeïeff, whom so much liked his work.

I hope like this, some light will be shed on Bartosch and people can see how great he was, and by so resurect a phantom from beyond time, and bring him once again to our heads and hearts.

Regarding the film itself:

Don't see the roll of a female nude in this film and what happens to her has mere exploitation of the female condition. She represents The Idea, the naked truth, we that are used to watch all kinds of violence on television and tremble in horror on the vision of the 'Naked Truth'.

This tells the story of the idea since it's created, how it is rejected and forced to dress in the world, how she protects the ones that want to make a change, how she is printed and finally showed to the world, trough radio, newspaper etc.. and in the end how she returns to her maker. It's social allegory, you have to see to believe the density and poetic vision of this film. The final words by Bartosch should have been 'You can do everything with soap.'

Nowadays we have the internet to expand such ideas and concepts, we have something that the world never saw before, a massive way of communication which can reach the four corners of the world.

All texts by myself, having as basis the writings of Claire Parker and Alexander Alexeïeff on this film and on the author, and the writings of the same nature by William Moritz.



THE IDEA
(Berthold Bartosch, France, 1931)
Based on Frans Mesareel's famed woodcuts, this animated film classic was the first trick film with a radical film: a revolutionary idea (in the shape of a nude woman) is conceived by the artist, condemned by the world, the rich, and the church, but lives on, forever stirring men to revolt.

In Film as subversive Art by Amos Vogel





Re:voir sells a fine tape for this film, i never seen this projected, but the quality of the transfer looks remarkable and it is accompanied with a booklet with writing by Claire Parker & Alexander Alexeïeff and writing of William Moritz.

ECCE HOMO
1989 7 minutes

Ecce Homo (Behold the Man) interweaves images form Jean Genet's masterpiece, Un Chant d'Amour with images from gay male sex films. It forces the viewer to question the point of view in looking at "pornographic" images. A.I.D.S. hysteria portrays gay sex as pornographic, politically incorrect, sinful, or, at best, a public health hazard. Ecce Homo asks whether the taboo is against gay sex or against seeing gay sex.

1990 Atlanta International Film Festival Best Experimental Film

"Ecce Homo makes it all worthwhile. It reclaims desire in the age of A.I.D.S. Tartaglia is an artist at the peak of his powers." Vito Russo, The Advocate

LA VERIFICA INCERTA !
Alberto Grifi et Gianfranco Baruchello (1968 - vo)

A compilation film about stereotypes drawn from some 500,000 feet of colour footage of Cinemascope movies made in Hollywood between 1953 and 1958. The film was shown in Paris in May 1965 by Marcel Duchamp, who also took part in the film.
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'A hilarious, intercut collage film made up of cliche sequences from Hollywood films.' - S.Dwoskin,FILM IS.
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"A calculated assault upon the supposed logic of the structure of the narrative film. Clips from a dozen or more cinemascope movies, shown still squeezed, follow each other in a perfectly logical but complete anar- chic progression. The filmmakers replace the conventional sequence of shots describing a simple action (opening a window, for example) with an equal number of shots, all technically "correct" and all dealing with the same dramatic/functional situation, but which throw the event into total confusion. The hero changes person mid-shot; camera movement reverses halfway through an action; the lighting jumps from phony blue-filter darkness to over-exposed multi- shadowed "daylight"; and the color range (which throughout the movie manages to reflect every imperfection of mass produced color prints) cuts from all-over brown to washed-out blue-green." David Curtis, Experimental Cinema, 1971 via Film As a Subversive Art (1974) - Amos Vogel

Film of the experimental italian underground of the 60's

stills from the only film that survived from the Futurism directed by Anton Bragaglia, only segments survive in the current day, a total of 35 minutes. There were some more Futurist films by this director now lost. For reference the first futurist film was made in 1913 and it was called Drama Cabaret Futoristov No. 13.

You can read more :

http://www.futurism.org.uk/cinema/cinema.htm

words are pointless to describe this, these are stills from Alexandre Alexeïeff & Claire Parker pinscreen animations, it's perhaps the most beautiful animations I ever saw. Alexeïeff said 'Cinema will become an art when people can have it on their shelves and view it at their pleasure and descretion like a book or a record' he died in 1982 but cinédoc made is wish come true, if you are interested in the disc, search for cinedoc in google a french based company and order the disc it's some 30 euros nothing very expensive, they also sell WVLNT by Michael Snow a 15 minute version of Wavelenght which was 45, 3 15 segments super imposed, also not to be missed.

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Director: Onishi Kenji
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Year: 1998?
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Country: Japan

95mins, 16mm, Sound (no dialogue), Colour

A Burning Star depicts the physicality of destruction and disappearance through images of the Japanese filmmaker's father who dies and is cremated. Maintaining a solid rhythm and perspective, this film highlights the meaning and importance of "viewing" and "filming" in documentary. (Yamagata International Documentary Film Festival, Asian Currents Programme)

DIRECTOR'S STATEMENT

I think the camera is the most important aspect of the absolute process of expression. I've interpreted Vertov's "camera eye" in a personal way adopting an Onishi style camera eye. In A Burning Star (Shosei) my inner conflicts find a cruel form. Through the camera I come to terms with my father's death. It's only natural that a person should tremble, hesitate, feel sad and be afraid. As the director, I can erase all of that. That's the unique power of the author. The camera is merely a tool to give it a form. When I turned the camera to the subject of death I felt no need to prepare humane justifications, a methodological structure nor escape routes. In A Burning Star the camera confronts the problem of death. Through the act of filming I recorded the distance between my father and myself. It is a primitive, simple and absolute film. In short, it is the possibility of my own self.

ONISHI KENJI was born in 1973. Began making 8mm films in 1990 and has made over 100 films including short works. Recently has focused on longer 16mm films such as SQUAREWORLD (SUKUEAWAARUDO, 1995) and continues to direct problematic and radical films like AQUARIUM CITY (SUISO TOSHI 1996) and ZETCHO (1997) that have attracted international attention. Onishi's films are highly praised in Japan and have been invited to various festivals in Japan and the USA. As well as making films, Onishi operates CINEMA TRAIN, a Tokyo venue for screening and distributing experimental film.

Joss's thoughts on A BURNING STAR......

A Burning Star is a feature length documentary depicting the filmmaker's father's death and his coming to terms with that death. In his chracteristic manner, Onishi pursues the subject to the very end, with little regard for social conventions. In that it breaks social 'rules', it is a very personal documentary, and thus difficult. Onishi's relationship with the dead body is always very intimate (at one point, without any hesitation on screen, he goes so far as to undress the body and play with his father's genitals) and this forces us to question our own socially constructed conceptions of death and the 'appropriate' actions to perform after the loss of someone.

Coping with death is one of the most ritually elaborate, socially inscribed and culturally specific processes we can experience, yet when alone with his father, Onishi rarely shows any concern for maintaining the rules which we live by. One might say that he is disrespectful, that he is exploiting his father's body and humiliating not only his father but also the relatives that continue to organise the cremation in the socially inscribed manner. Yet, he does demonstrate an enormous amount of tenderness towards the body and the pace of the film could be understood as respectfully quiet and patient. When I first watched the film, Onishi showed me a shortened preview version that cut out the long periods of preparation for the cremation and instead concentrated on the burning of the body. The longer version, in my opinion, does Onishi much more justice in developing the relationship with his father.

The second half of the full length version being screened at EIGA ARTS, shows the body being burnt as the camera (double Super 8 later transferred to 16mm) sits in front of the open door to the fire and records the body melting, the bones crumbling and turning to ashes. It initially seems rather macabre yet over the course of perhaps 30mins or so of watching the body in what is one long continuous shot except for film changes, I found myself feeling closer to anything I can recall seeing on screen up until now. I felt this way, not only in a physical sense (and to see a body decay real-time makes one very aware of one's own physicality in relation to the physical body represented on screen), but emotionally/intellectually too, I found myself 'participating' in the funeral of a man I had not known. My notion of it being macabre disappeared and instead, I found myself understanding this act of filming as perhaps the greatest display of affection and respect possible for Onishi. It was a painfully long goodbye and more personal and seemingly more meaningful than any preordained ritual could have offered.

My only quibble over the film would be that by breaking the social conventions and personalising the image of his father to such a degree, Onishi perhaps paid disrespect to the relatives who were also mourning in the more traditional way. One has to understand and accept that a funeral is, like most rituals, primarily a social event, and one which requires that everybody understand their roles. In the film at least, Onishi seems to disregard these roles and thus the 'mechanics' of the ritual itself. One wonders what it must have been like to be one of the many relatives who had to to watch Onishi wander around with a camera infront of his face, as preparations were being made. However, they seem to show little concern over him filming and I can only assume that they accepted it.

Onishi has said that the camera is "the most important aspect of the absolute process of expression". In A Burning Star, this is very apparent, for when one expects him to stop filming and express himself in the manner that other people are doing, he continues to film in what seems initially, a cruel and thoughtless manner. Only after some time (for me it was during the burning of the body), do we realise that Onishi is expressing the grief, loss, respect and confusion that one would expect, only that it is not being represented in front of us on screen (Onishi certainly doesn't shed tears in front of the camera) but rather we are being forced to experience his loss as our own also, with Onishi, through his 'camera eye'. (The reference to Vertov is Onishi's own.)

You can't find for purchase just wait for a screening.

VALIE EXPORT


was born in Austria in 1940. She received a degree in textile design from the Technical School for Textile Industry in Vienna in 1964. EXPORT has had solo exhibitions amongst others at the Museum of Modern Art Ludwig, Vienna; Akademie der Künste, Berlin; the Whitechapel Gallery, London; the Generali Foundation, Vienna; and the Hamburg Arts Center, Hamburg. Her work has also been featured in group exhibitions at the Museum of Contemporary Art, Los Angeles; the Museum of Contemporary Art, Japan; the Museu d´Art Contemporani de Barcelona (MACBA), Spain; the Musée de l´Elysée, Lausanne, Switzerland; the Centre Georges Pompidou, Paris; the Helsinki Art Museum, Helsinki; Dokumenta 6, Kassel, Germany; and the Galerie im Taxispalais, Innsbruck; Academy of the Arts, Berlin, among others. She has also participated in several international film festivals, including the London, Berlin, Cannes and Hong Kong film festivals. She has taught at the Academy of Visual Arts, Munich, the University of Wisconsin-Milwaukee´s School of Fine Arts and the San Francisco Art Institute. Currently she is a professor at the Academy of Media Art in Cologne, Germany. VALIE EXPORT lives in Vienna, Austria and Cologne, Germany. (Electronic Arts Intermix)

http://www.sensesofcinema.com/contents/03/28/expanded_cinema.html









Purchase the DVD at Index DVD based in Austria. There are more of her works available for purchase just browse the web you will find them.

Zwartjes' films are haunting excursions into desperate universes of alienation, in which male and female, while extricably bound to each other, never "connect".Here an impassive Keaton-like male engages insupremely sexual, ominous food orgies with voluptuous, half- nude women whom he paws impotently. Texture of image, crass make-up, and selective lighting further emphasize the expressionist character of the film.

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A major new talent in international avant-garde cinema, Zwartjes creates hermetic, obsessive, and "decadent" universes, in which desperate, dissociated males and females, though inextricably bound to each other, never "connect". Here an impassive, Keaton- like figure engages in a sexual, ominous food orgy with voluptuous, half-nude women whom he paws impotently. A mysterious, powerful tension informs the action. Despite non-communication and mutual defilement of the grossest kind, a profoundly humanist statement emerges; compassion for these victims, "partners" in loneliness. Expressionist style, make-up and lighting as well as complex montage heighten the effect of the tragic tableaux, in which tortured non-heroes operate impotently in hostile space, facing us blindly, nakedly, with all defenses down; compelling us, perhaps, to confront ourselves in like manner.

Extracted from our favourite book Amos Vogel Film has subversive art

Visual Training:



Anamnesis:



Sorbet 3:



These works are extremely hard to find, it took me months to discover them, you wont find them for sale anywhere though. Believe me I tried every webpage that mentioned Frans Zwartjes. It's far easier to wait for a screening. Either ways you might want to try to contact the dutch filmuseum. He has more than these 3 shorts, but it's all I have.

Emperor Tomato Ketchup (Shuji Terayama, 1970)
...and what about a fascist nation-state overthrown by a small army of inhumane, sexually mature, adolescent revolutionaries? Pre-teen hustlers drag the beaten body of a senior citizen down a dusty street while a ten-year old boy—our hero with a tickle fetish—waits to be fellated by a middle-aged housewife and an aged granny. Straddling the line between acute political commentary and full-blown surrealism, Emperor Tomato Ketchup is at once a scattershot, Benny Hill wank-job and the most cutting artistic expression too few will ever bear witness to. Terayama says “Take your pick” and somehow manages to make his position completely ambiguous.

-Michael Baker







Well this movie was or is legendary, it's part of the Experimental Image World, the screenshots are from the short 27 minutes version made with the highlights of the film to the western audience. And it's in Experimental Image World on Vol.1, Vol.7 is the full lenght Emperor Tomato Kectchup tinted and around 80 minutes of lenght. Amos Vogel refers to it vaguely aswell has other prominent writers, but I think that this movie was more written about than actually seen. It's a strange movie, and again, if you have preconcepts in your head about sexuality you will not enjoy this film. It was many times refered has child porn. It's very hard to get, it exists ImageForum from Japan that sells all the 7 volumes of experimental works by Terayama, but they dont sell to outside Japan. You might be able to find bootleg copies laying about, just run a search on ebay or in google and you might come out with something, be aware of the full lenght version, there is a lot of shitty bootlegs for that one. I would really love to see this screened.

IXE by Lionel Soukaz

1980 16mm 48’ color
With the participation of Philippe V., François D., Jean-François B., Karine, Verveine, York, Farida…
Assistant directors: Hervé Leymarie and Philippe Veschi.CRUCIFIX
Ixe (written X and pronounced EEKS – as it is pronounced in French –, like a scream, a wound) is an imploded, crucified film. Made to be projected on four screens at once, X is drawn and quartered. At the four points of the compass, at the four ends of the cross, War, Sex, Religion and Drugs, the double exposures, the colliding glimpses the eye barely recognizes, the skillful repetitions of themes, remind us that Sex is also the war of bodies, and the pope, the Drug of the people.
And the story of this young man, shooting up in order to experience all the horror of the world in front of his TV set, reminds us that the heroin orgy is indeed the subjective locus of the monsters of the modern unconscious.

Guy Hocquenghem

Ixe is a film dedicated to the law of the same name. Ixe may make you tremble or shudder, these images of escape, crisis, or decadence, of transvestites, bodies in erection, of fits and starts, of repression, war, political violence, shooting up heroin, bodies lost in space, of boxing matches, jungle life, survival, tennis, political or religious personalities that make you vomit in shame and anguish; Ixe may be all that – an analysis, working on oneself (a mirror), a snapshot of the ’80s, anything you like, it doesn’t matter – but let Ixe be the shiver of life, that thing that gives you goosepimples.

Lionel Soukaz

http://re-voir.com/html/soukazprojection.html







This has to be one of my favorite movies!!! It's simple amazing! Along with Carmelo Bene's Don Giovanni and Luther Price films. Words can't describe, it's a unique visual experience, you can purchase a copy from re:voir they sell in PAL, SECAM and NTSC and it's not that expensive.

Modern primitives don't get quite the respect they used to. Body modifications are as common as strip malls as the millennium creaks to its conclusion. And you don't have to live in San Francisco or New York to find them. Tabloid TV is brimming with angst-ridden teens from the heartland sporting rings on noses, tongues, even penises. Tattoos have so run their course that removing them seems to be as popular lately as applying them.

Still, it's possible to make a career, if a halting one, out of a willingness not only to modify the body but to do it onstage, where the world can watch. Performance artist Ron Athey (pronounced like the first two syllables of "atheism") has achieved considerable success, and perhaps a living, creating elaborate performance art that features needles, literal crowns of thorns, razors, knives, and plenty of blood. Like many artists working in controversial niche areas, Athey uses these events partly as personal therapy, exorcising the particular demons one might expect to occupy the mind of a man raised by religious fanatics to think he was the reincarnated Baby Jesus.

http://www.brightlightsfilm.com/24/athey.html

Complete biography in PDF





To download the PDF file scroll down the page and choose free account. For further reading on Ron Athey try his website http://www.ronathey.com/. I have yet seen any of his performances, but I'm darn curious!!! If someone has any of them please contact me, I know he stars on Hotmen cool Boyz an attempted phiplosophical gay porn movie. Produced by the company of Lars von Trier perhaps that means why it isn't good :P

Anyways if someone has specially The Solar Anus from which the screenshot above his, please contact me!!!

Valie Export grew up in post war Upper Austria and attended a convent school. Her quest for a more liberal surrounding took her to Vienna, where she met a rebellious group of artists: the member of Viennese Actionism.

Inspired by their philosphy and art theories Valie Export began to explore the issues of female sexuality by the means of multimedia art, film and video art, installations and body performances.

Major early works are the performance 'Tapp und Tast Kino' (Tap and Touch Cinema), a series of black and white photographies 'Körperkonfigurationen' (body configurations) or a co-production with actor Peter Weibel: 'aus der mappe der hundigkeit' (from the protfolio of doggyness).

Later she turned to digital photography, video art and installations. With great success: Valie Export has received many awards. Today, she teaches at the University of Arts in Berlin.

In 2002 she was invited to restructre one of the many arches of Vienna's city railway following a congested main street: the 'Gürtel'. 'Der transparente Raum' investigates the interaction of the female body and city planning.


http://www.aboutvienna.org/painters/valie_export.htm


"Menschenfrauen"
1980
Directed by Valie Export

Valie Export's daring film about relationships, Menschenfrauen (loosely translated, "humanwomen"), focuses on Franz S., a journalist, and his relationship with four women: the kindergarten nurse Petra, the teacher Gertrude, barmaid Elisabeth and his wife Anna. Franz "doles out honorary pieces of himself to the 'human women' in his seraglio, whispers the same assurances. Eventually, everyone catches on and makes some effort toward independence" (Gary Indiana, East Village Eye). "A landmark film…Valie Export achieves in Menschenfrauen what Godard strove for but failed in his Every Man for Himself--a human view of a woman's place in a man's world…From credits to close, Menschenfrauen eludes conventional cinematic vision…" (Seattle Film Festival).

"The Practice of Love"
1984
Directed by Valie Export
"A dazzling cinematic tour-de-force, combining a thriller narrative with experimental images to tell the story of Judith, a journalist, whose investigation of a murder implicates her two male lovers (an arms dealer and a psychiatrist). Through these relationships, Judith discovers that in a world of male power struggles, love is complicit, marginal or impossible. The film makes a stunningly coherent indictment of male-dominated society." (National Film Theatre, London). Valie Export is "one of the five or six truly original filmmakers working in Europe today who have not been recognized widely and turned into classical 'auteurs,' and this is why each of her films seems initially disturbing, jarring, 'difficult' " (Gary Indiana, East Village Eye).

Pode-se comprar um DVD da IndexDVD (austriaca) com alguns trabalhos dela, com portes de envio fica em cerca de 45 euros cada um, é caro mas a arte tem preço. Ainda não tive paciência para ver todos até ao fim para ser sincero, mas é uma raparida muito interessante, amanhã deixo alguma informação da Orlan que de alguma forma se pode comparar à Valie Export.

The color science fiction film, financed by paychecks from Mike’s day job as a photo retoucher, was Sins of the Fleshapoids (1965). Sins would stand as Mike’s best-known film and the single most significant, creatively realized example of ’60s camp cinema sensibility. Pulsating with excessive colors, Sins unfolds while the camera’s eye floats indulgently over bright flowing fabrics, jewelry, tropical plastic foliage, and platters of glowing fruit that evoke a corrupt paradise.

"My specific aim was to bombard and engulf the screen with vivid and voluptuous colors," said Mike of Sins in a 1967 Film Culture interview, "because Sins is a fantasy of science fiction. So I tried to boost the colors according to its category: ‘fantastic’ or ‘unreal.’ I intentionally used a color film that when reproduced in the final print becomes ‘unnatural’ and ‘souped up,’ especially in the reds."

Sins starred Gina Zuckerman, Maren Thomas, Donna Kerness, and Julius Middleman (who later became a cop). Bob Cowan, who narrated the film and chose the music, gives a jerky, deadpan performance as the lead male robot, and George steals the show as Gianbeano, evil prince from the future.

The story transpires a million years in the future, after "The Great War" has depopulated the earth and ravaged the landscape. Mankind, reduced to a debauched few, has forsaken science for greedy indulgence in all the carnal pleasures afforded by art, aesthetics, and lust, leaving work to be done by a race of enslaved robots. One rebellious male robot (Cowan) tires of pampering his lazy masters and murders a human woman after a failed rape attempt, then engages in successful robot sex — the touch of fingers — with a female android. Thus the Fleshapoids join their human masters in sin ... and in procreation, as the female android gives birth to a baby robot.

Although Sins is set in the future, there is a classical look to the costuming and set designs that foreshadows Mike’s fondness for an ancient, muscular, Roman sexuality that he would elaborate on in later films and in his published gay pornographic comics.

Sins of the Fleshapoids played midnights for three weeks at an established theater in Greenwich Village and went on to become a staple of the underground. Mike was now able to quit his day job and live for six years off the income of his films, which included, among other things, sales of prints to museum archives worldwide and honorariums for presenting his work at university and film society screenings. (This was more a testament to Mike’s modest expenses than to any vast sums generated by the films.)

Along with Anger’s Scorpio Rising (1964) and Warhol’s The Chelsea Girls (1966), Sins of the Fleshapoids remains one of the three most influential works of the ’60s American Underground, if one of the least self-consciously scandalous. It was never busted like Scorpio Rising (for a snippet of frontal male nudity), nor did it have the aura of fashionable decadence that radiated from everything Warhol attached his name to and that propelled Chelsea Girls to heights of fame and financial success arguably greater than the film’s value. (At a sold-out 1991 screening of Warhol’s film in Boston, the entire audience left during the unannounced intermission.) That Sins achieved the influence and success it did without sexual scandal or the scenester celebrity that many other underground films exploited is notable.







Mais uma beldade do Mike Kuchar!!! Este é também altamente dificil de encontrar, as imagens que meti aqui são do filme mesmo, se alguém tiver uma cópia em melhor estado acuse-se! É um filme magnifico com todos os ingridientes Kucharianos, neste caso do Mike, um pouco diferente do George este terá sido o ultimo filme onde se pode dizer que o George teve mão, mas já foi uma obra muito independente do irmão, contudo é um clássico para os amantes de ficção cientifica :D imperdivel! Não vale a pena resumir a história pois acima já está bem contada, se tiverem preguiça de ler pois olha azar :P

Maunce Lemaître, born in Paris. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.

In 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the "Minotaure" of Lettrism.

Ever since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.

Known as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.

Very much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: "Ecritures", le "Salon de la Lettre et du Signe", le Salon "Art, Vidéo, et cinema".

He organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as "Pop Art", "New Realism", "Conceptual Art", "Happening" ... The National Library of Paris also exhibited Lettrist works and engravings.

Maurice Lemaltre pioneered research in experimental cinema as he created "Syncinéma" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.

In March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.

Maurice Lemaître and his group regularly organize artistic and political exhibitions, demonstrations parties.

He was once Chief Editor of Paris-Théâtre, a magazine which deeply influenced the new drama. In 1961, in the Conservatoire National d'Art Dramatique de Paris, he created Théâtre Neuf, a dramatic society which he has been running ever since. Théâtre Neuf aims at rediscovering unrecognized talents of die past and promoting a new drama.

He was one of the first to launch theatre workshops which gave its chance to a new generation of comedians and dramatists, and helped young film-makers make their works known by creating cinema workshops, paving the way for those avantgarde film cooperatives. He is very much involved in supporting their flourishing activities.

The different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.

He wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...

As a P.H.D, he gave lectures on painting and experimental cinema in the Sorbonne. He is currently President of the University Léonardo da Vinci. He also runs the Consulting-Psychological Institute he has founded.

http://www.id-net.com/lemaitre/lmaitrus.htm

Mais uma vez consegui por as mãos através da re-voir num excelente exemplar de neodadaismo se é que o termo pode ser aplicado, juntamente com Takahiko Iimura são dos DaDa mais recentes, os mais interessantes.







Algumas imagens do filme, é uma maravilha! As legendas em inglês vêm num booklet aparte, mas não são os dialogos que interessam aqui.

Necrorealism: a Russian death experience


The necrorealism movement attempts to view death in a different light through the medium of film. Andrew Iles joined the experts for a day to explore the concepts behind this genre

A half naked man builds a wooden swinging hammock and tethers it under tension to a tree. He lies down on it and cuts the tethering rope. The hammock hurtles towards a tree trunk. His head is smashed.

A young boy runs through woodland to a corpse that is half lying in a lake, the boy pushes the corpse in fully and only the boy's head can be seen.

A woman walks slowly through the woodland swinging a pail of water in her wake. Her feet become trapped in a scrambled mass of wire, and she falls. Her head smashes against a rock and a blood curdling clanging of a bell is heard.










Propaganda at the International Necronautical Society

After the film ended, a panel of experts assembled on the stage for discussion. Each had different ideas about the film, and their views ranged from the celebratory to the derogatory. For example, Anthony Auerbach, one of the panellists and head of propaganda at the International Necronautical Society, an organisation committed to bringing "death out into the world," smirked at the film and said that it was nothing new and that it painted a pretty typical view of bewildered failed suicide.

When the discussion opened to the floor, a Russian man spoke. He had worked with the audio side of Iufit's work early on in the necrorealist movement. This was by far the most comical of moments. He talked of an ornament of three bears he had seen advertised in a Sunday magazine. The situation was truly surreal. "It was then I realised that bloody necrorealism had come to London," he gushed. He carefully explained that the three bears all sitting in a circle looking at each other encapsulated the pure essence of necrorealism. For one, he pointed out, the image was homoerotic. And secondly, he claimed, the bears were not dead but were. It was at this point that I wondered whether I had missed something.

http://www.studentbmj.com/back_issues/1003/life/386.html

Yevgeni Yufit

Film director, artist, and photographer. He was born in 1961 in Leningrad . He was one of the leaders of the "Parallel Cinematography" movement in the 1980s. In 1984 he founded an independent film studio "Mzhalalafilm" and led the group of young vanguard authors who called themselves necrorealists. This movement included literature, photography and paintings as well as cinematography. It was characterized by spontaneity and the poignancy of man's primitive initiation rituals and simple merry rowdiness. In spite of the threatening name, necrorealism is an art form that does not inspire fear. On the contrary, it is an art form that abolishes social taboos and takes the civilized consciousness into the sphere of liberated instincts.
In the 1990s, Yufit began to shoot full-length films instead of short films. Brutal expression is replaced by thoughtfulness and delving deep into the natural sciences. The language of the film becomes more complicated but does not lose its connection with his earlier film experiences. Eugeny Yufit is the director of the films "Werewolf Orderlies" (1984), " Woodcutter " (1985), " Spring " (1987), "Suicide Monsters" (1988), " Fortitude " (1988), "Warriors of Heaven" (1989), " Freedom " (1994), " The Wooden Room " (1995), "Silver Heads" (1998). He participated in International Film Festivals in Locarno , New York , Moscow , Rotterdam , Toronto , Montreal . Eugeny Yufit's films and photo works are in the collections of Netherlands 's Cinematography Museum , the Museum of Modern Art in New York , the State Russian Museum.

Barbara Hammer, an internationally recognized film artist who has made eighty films and videos, is considered a pioneer of lesbian-feminist experimental cinema. Her trilogy of documentary film essays on lesbian and gay history -- "Nitrate Kisses" (1992), "Tender Fictions" (1995), and "History Lessons" (2000) -- has received numerous awards. Her first documentary feature, "Nitrate Kisses" (1993) was funded by the NEA and has screened in countries around the world including Canada, Europe, New Zealand and South Africa. This film won the Audience Award for Best Documentary at the 1993 Women Director's Film Festival in Madrid, the Polar Bear Award at the 1993 International Berlin Film festival, and was selected for the Sundance, Creteil, Popoli, and Feminale Festivals in addition to many others. Hammer was awarded a Guardian Interview with its screening at the National Film Theater, London. "Nitrate Kisses" opened theatrically in New York, Los Angeles, San Francisco, Chicago and Austin. It was reviewed favorably by Vincent Canby in the N.Y. Times.

Hammer's second documentary feature, "Tender Fictions" (1995) premiered at the Sundance '96 Film Festival in the U.S. and the 34th International Film Festival in Berlin in Europe. It was awarded the Isabella Lidell Art Award at the 1996 Ann Arbor Film Festival. It screened at the Walker Art Museum in Minneapolis, Museum of Fine Arts in Boston, Mary Riepman Ross Gallery at the Sheldon Theater at the University of Nebraska, the YYZ Gallery in Toronto, and numerous film festivals (Frameline, New Festival, Mix '96, Norwich Women Director's, Feminale in Cologne, Brisbane in Australia, and the Gay and Lesbian Film Festival in Paris).

"The Female Closet" (1988), Barbara Hammer's fourth feature documentary, marked her continuing interests in recovering and investigating the missing histories of lesbians, bisexuals and gays in Western culture.

Barbara Hammer has had retrospectives at The Centre Georges Pompidou in Paris, the Berlin International Film Festival, the Sheldon Memorial Art Gallery in Lincoln, Nebraska, The Film Forum in Los Angeles and most recently, at the Out In Africa Film Festival in Capetown, South Africa (1994). Many of her films are in permanent collections and film libraries at the Museum of Modern Art in New York City, the Centre Georges Pompidou in Paris, the National Film Archives in Brussels, and the Donnell Library in New York City. Hammer's films were selected for the 1987, 1989, and 1993 Whitney Museum of American Art Biennials in New York. She has received numerous other prizes and awards at the national and international film festivals and has had work screened on public television broadcasts in New York, San Francisco, Chicago and Dallas. In 2000, she was honored with the Frameline Award for making a significant contribution to lesbian cinema.

Major grants that have supported Hammer's work are: Harvestwork Digital Sound Residency (June, 1994); The Lab Sound Residency (1994); AFI Digital Independence Grant (1993); The American Film Institute Film Production Grant (1992); The Western Media Regional Fellowship Grant (1992 and 1990); The National Endowment for the Arts Film Production Grant (1990 and 1984); The Jerome Foundation Film Production Grant (1990 and 1984); The Film Arts Foundation Film Production Grant (1990); John D. Phelan Awards in both Film and Video (1988 and 1990); SECA Award (1990); the New York State Council of the Arts Film Production Grant (1997, 1996 and 1989); and the Mid-Western Media Regional Fellowship Video Grant (1986); New York Foundation for the Arts Fellow (1997, 1991 and 1988); Art Matters (1997) and Art Links (1997).

Hammer is a respected film/video artist and is sought after to screen her work and lecture and write on related topics. She has taught at many institutions including School of the Art Institute, Chicago; California College of Arts and Crafts, the San Francisco Art Institute, School of the Museum of Fine Arts Boston, School of the Visual Arts, and The New School for Social Research.

Hammer was chosen to be a judge in the documentary competition at the Sundance Film Festival. Ms. Hammer is an elected board member of the Association of Independent Video and Filmmakers in New York City and she has been selected to serve on the Advisory Board of S.F. Cinemateque and Friends of the Paul Robeson Fund, New York. Recently she became a Board Advisor for Film/Video Arts, New York City. She was an invited guest and played a highly visible and constructive part in identity politics discussions and debates at the 1993 Flaherty Documentary Conference.

She was selected for Digital Independence at the American Film Institute in Los Angeles in 1993 where she was trained on the Macintosh platform and completed two Quicktime movies. She has studied multi-media CD-ROM applications at the Bay Area Video Coalition, and has completed a course of study using the software program Macromind Director. Hammer was a mentor at the Film/Video Arts Mentor/Mentee Program; she received residencies to use the AVID 1000 there and at The Wexner Center for the Arts, Ohio.

Barbara Hammer earned an MA in film at San Francisco State University and took courses in multimedia digital studies at the American Film Institute. her most recent feature documentaries---Devotion: A Film about Ogawa productions (2000) opens theatrically in Tokyo this month and My Babushka: Searching Ukrainian Identities (2001) ---focuses on global issues outside her community. Some of her films are included in the permanent collections of new York's Museum of Modern Art and Centre Georges Pompidou in Paris.

Hammer is currently a Fellow at the Radcliffe Institute of Advanced Study. At Radcliffe, Hammer will work on her latest project, a 16mm feature documentary film called "Resisting Paradise." Shot in the Mediterranean fishing village of Cassis, the film contrasts the histories of French Resistance fighters with those of the painters Bonnard and Matisse, who continued to produce landscapes, portraits, and still lifes in this land of light and beauty even as the Nazis occupied France. Hammer's film will challenge viewers to confront the question: How can art exist during a time of political crisis?

Barbara Hammer lives and works in New York City. (04/02)

http://wmm.com/catalog/_makers/fm34.htm

Comprei duas cassetes directamente a esta senhora com trabalhos dela, estou desejando de lhe por as unhas em cima!!!!! As cassetes que comprei foi Lesbian Humor e Lesbian Sexuality.

Estou especialmente curioso em ver esta:



Multiple Orgasm, 16mm, color, sound., 10 min, 1976
A sensual, explicit film that says just what it is, plus visual overlays of erotic rock and cave formations.

e esta também:



Sync Touch, 16mm, color, sound, 10 min., 1980
A lesbian/feminist aesthetic proposing the connection between touch and sight to be the basis for a "new cinema." The film explores the tactile child nature within the adult woman filmmaker, the scientific analysis of the sense of touch, and the personal connection between sexuality and filmmaking.

"Despite the serious intent of her work, most of her films are imbued with humor. Cheek to cheek with her lover, Hammer repeats the French-speaking woman's enunciation of amorous aphorisms and scientific truisms, which are simultaneously subtitled."
--Aimee Leduc, The Body Politic

Esta Mulher merece apenas a minha vénia e todo o meu respeito como a primeira senão a única experimentalista lésbica dentro do cinema, lésbica, no sentido de fazer filmes com esse temática, estou certo que o cinema experimental está cheio de lésbicas e homossexuais no armário, qualquer pessoa que tenha a coragem de se expor e ainda por cima fazer disso uma obra de arte incomparavel, como já disse, tem todo o meu respeito.

Yayoi Kusama
Born in Nagano Prefecture.
Avant-garde Sculptor, painter and novelist.

Recentemente adquiri uma verdadeira joia, o filme desta senhora!!!



Photography and editing: Jud Yalkut. Scenario: Yayoi Kusama and Jud Yalkut. Art Direction: Yayoi Kusama. Music: The C.I.A. Change (Citizens for Interplanetary Activity) with Paul Kilb, piano; Ted Berk: chanting and words; Sound production: Win Hardy. Sound Engineer: Matt Hoffman, Apostolic Studios, New York.. With Yayoi Kusama, Joe Jones, Don Snyder, and others.

A film exploration of the work and aesthetic concepts of Yayoi Kusama, painter, sculptor, and environmentalist, conceived in terms of an intense emotional experience with metaphysical overtones, an extension of my ultimate interest in a total fusion of the arts in a spirit of mutual collaboration.

"The obsessive act of covering (destruction of boundaries-identities) gradually equivalent to the ritual of uncovering (Striping away of ego); individual self, destroyed in mask/parody/clustering, is transcended. Mandalic (magic circle meditational form used to concentrate attention to a spiraling in/to a point through which new, expanded awareness is possible. The techniques of superimposition, a mere gimmick in most films, is an apt formal analogue for the dissolution of discreteness, for the meshing-merging of identities in the last orgiastic section of SELF-OBLIERATION -- we are confronted with an atomistic collection of figures interacting but one emergent, undulating Meat-Cloud-Being." -- Paul Sharits.

"A mysteriously innocent film." -- P. Adams Sitney, Film Culture.

"Yayoi Kusama, a crazy Japanese chick, puts dots on the whole world. Dots move in psychedelia which moves into orgy. Smooth transition." -- Robert Nelson, Canyon Cinemanews.

Prizewinner: Fourth International Experimental Film Competition, Knokke-Le-Zoute, Belgium, 1968. Second Prize, Ann Arbor Film Festival, Michigan, 1968. Selected for the Second Maryland Film Festival; the "Steps Towards a New Consciousness" program at the Whitney Museum of American Art's New American Filmmaker Series; and the collections of the New York State Council on the Arts and the Royal Film Archives of Belgium. Special Mention, the First Annual Berkeley Experimental Film Festival, for "Transcendence of the film plane in the first third of the film."

http://www.film-makerscoop.com/catalog/y.html

deixo-vos mais umas screenshots:





Onde encontrar? é complicado não é algo que se compre na amazon, nem algo que se compre mesmo, pode-se ter a sorte de achar um coleccionador diposto a trocar como eu tive, mas é sempre algo complicado. O filme é excelente supera as minhas expectativas e tem umas imagens muito remeniscentes dos Vienna Actionists na ultima parte, a da orgia. Embora ambos trabalhassem em simultâneo nos anos 60, acredito que talvez tenham tido contacto.