“A simplistic analogy of obvious disparities between these two masters that I concocted on the beach in Provincetown. As a disclaimer: my filmed comparisons relating H.F. & S.B. should in no way be construed with the quality or intentions of these high priests of filmmaking. Just koaning around.” (J.B.)
“Series summation; a regathering and extension in red, black, blue & white. This is a charged compression of both in-camera editing and bench-cutting… a splice dance under the ocean, in the fire, on the ice. A built-in edit of film editing portrayed.” (J.B.)
“The opening to a series of seven films inspired by Delmore Schwartz’s observations on the word ‘intrigue’. My series regards various aspects of personal visuals, including the process of shooting, splicing, repetition, projection and editing bench equipment. Much of the imagery exists within a darkened ambiguity. Intrigues (I), intersperses prismatic light, underwater shooting, echoing of shadows and other low-lit fragments/ precipitous moments of activities.” (J.B.)
How the boy Vasya and the owl Dusya went to look for the missing sun.
Kathe Sandler’s 1981 portrait of dancer Thelma Hill, a founding member of the Alvin Ailey American Dance Theater.
Super8, colour, silent.
"From a series of 7 "Intrigues", (as referenced by Delmore Schwartz), this fourth one pries the curious poetry of light and darkness within filmmaking. Super 8, silent, non-narrative,"
"Bach implied; splice-free, light, airy, soft-focus reflections out the back window of a car returning from the beach on a perfect summer's day. Super 8, silent, non-narritive."
A short mockumentary by art collective Die Tödliche Doris.
While withdrawing all of his money from the bank to pay for a life saving operation for his Mother, Roy Canteen is attacked and robbed. Taking the law into his own hands Canteen thinks of many different violent ways to take his revenge. After spotting the assailant he proceeds to play out his fantasy.
This time the confrontation Teresa Tyszkiewicz with the matter proceeds in a close analysis, although the artist's strategy is still based on the spontaneous expression of subjective experiences and impressions. Tyszkiewicz creates situations in which surrender may conduct on their premises all kinds of "tests" in order to locate their conceptual center and create the archetypal image. Starts at the numerous references and meanings, which includes formal, visual and semantic game. The artist uses the most mundane matter, and its original power of symbolic interaction, to create aesthetically refined images with his characteristic abstract beauty. Among those addressed in the film political themes (presentation of the issue of the weekly "Solidarity"), and the fight that at the end she goes with a heavy, linen sackcloth. The film ends with colored feminist scene serfdom after a failed attempt to revolutionize the fossilized perception of gender and female sexuality.
The registered activity, the artist uses a wide range of physical and visual expression to refer to the issues of birth, physicality and sexuality, both in the semantic and iconic. It also refers to "shocking" the language of performance art operating with nudity, violence, or, as here, using dead animals. Despite the physical and sexual striking impression share, the artist remains all the time in the garment. At the end of disguises, but from the eyes of the audience hides her tight cocoon. Constructing a symbolic expression of a structured situation is accompanied by a strong emphasis on the visual dimension of the action. Sophisticated structure semantically-formal Tyszkiewicz present in the films are played in the material world and translated into performance art.
The film is a reflection on the cultural and psychological space attributed to women in the collective consciousness, and above all in contemporary iconosphere. The artist creates characters and situations arranged in a complex in meaning and visual variation on the theme of erotic symbols and incarnations and sexual stereotypes, revealing thus their influence on essentialist vision of women in modern life and visual culture.
1981 German super 8 short work
1981 German super 8 short work
1981 German super 8 short work
The story of Glen Davis, a shale oil town built to supply oil for the Navy in World War II. After the war the township that grew with the works struggles for survival. It is the site of the longest stay-in strike in Australian Labor history. The town finally died in 1952. Each year its former inhabitants return to picnic in the ruins.
This symbolic journey evokes the personal creative wandering of the Vasulkas. The landscape, shot from a car window while driving in the Santa Fe area, is gradually transformed with more and more complicated imagery techniques.
