|
Since 2000, the internationally-based TIE festival has been a leading champion of artists still working in the medium of film, with a particular focus on both new and historical avant-garde cinema. TIE returns to UNL with two new programs specifically selected for The Ross by TIE founder/director Christopher May. The exhibition features an eclectic range of experimental films that illuminate the continuing vitality and beauty of celluloid, while subtle and at times obvious philosophical and thematic curatorial gestures conduct the flow of the programs. TIE wishes to give special thanks to the Director of the Ross Media Arts Center, Danny Lee Ladley, for making this event possible. Mary
Riepma Ross Media Arts Center
_______________________________________________
Vom Innen; von aussen The next major development is that the image splits and we view the man in stereo. The two men's revolutions are synchronized at first, then each takes on his own timing and direction. At this point the viewer could easily define the film as simply a visual analysis of the male figure in highly ordered motion, but then Sackl presents the environment as variable. Suddenly, the black background is lifted and anonymous natural background is presented. The landscape is initially vacant, but the spinning man soon enters stage right and makes his way back and forth, revolving all the while. The film soon cuts back to the black background where more variations are played out, the most noteworthy being the superimposition of the man's front and back. The visual biomorphism is totally bizarre. Throughout the remainder of the film, the environment continues to shift between the apartment, natural landscapes and the black backdrop. In the end, the empiricism of the blackened space is beautifully tainted by rays of sunlight that are projected onto the scene from a window behind the camera. Ultimately,
the film has a truly meditative quality, a meditation that encompasses
our notions about our bodies and the rules that govern it, both
environmental and self-imposed. The precision of the filmmaking
is overwhelming, in a way that is echoed in the movements of the
male model. Something within the tight order applied to the man's
body brings to mind the iconic work of Leonardo de Vinci, which
imposes perfect geometries atop the human form."
"Signal
tones and images woven into a rebus-like montage crime story: That’s
how one could outline the blueprint of Peng Peng, which
combines well-known material from Brehm’s archive and embeds
it in a framework narrative."
_______________________________________________
"...I
wanted to see if the experience of what I saw would have any correspondence
to what I felt-- the intimacy of the lovemaking... And I wanted
to put into that materiality of film the energies of the body, so
that the film itself dissolves and recombines and is transparent
and dense-- as one feels during lovemaking... It is different from
any pornographic work that you've ever seen-- that's why people
are still looking at it! And there's no objectification or fetishization
of the woman." Fuses was recently preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the Film Studies Center at the University of Chicago. "The
film was preserved from the collage original, which is as much a
celluloid sculpture as it is a movie. The hand-spliced reel consists
of footage shot on multiple film stocks, is painted on both sides,
contains sections that are composed of splicing tape and is what
you might call funky. All the prints we’ve seen of Fuses
were made from later generation sources than the original. Thanks
to the content of the footage and the construction of the object,
Carolee was only ever able to make a reversal positive back in the
late 60s. She used this master to do some stretch printing and eventually
make an internegative, which resulted in a lot of built-in contrast,
darkness, and overall softness to the image. The new print, which
was made by Cineric Inc. in New York City, matches the vibrant color
of the original in a way that the old prints never could. It is
really something to behold."
When Andy Warhol decided to shoot Blow Job, he rang Charles Rydell and asked him to star in it, telling him that “all he’d have to do was lie back and then about five different boys would come in and keep on blowing him until he came,” but that the film would only show his face. Charles agreed, but when he didn't show up for the following Sunday afternoon shoot, Andy reached him at Jerome Hill’s suite at the Algonquin and screamed into the phone “Charles! Where are you?” Charles responded: "What do you mean, where am I? You know where I am - you called me,” and Andy the said “We’ve got the camera ready and the five boys are all here, everything’s set up!” Charles's shocked reply was: “Are you crazy? I thought you were kidding. I’d never do that!”...They ended up using a “good-looking kid who happened to be hanging around the Factory that day” who, years later, Andy noticed in a Clint Eastwood film. His identity remained unknown until a fellow student from Edinboro State College, where Bookwalter majored in art, identified him as the actor in Blow Job after seeing a screening of the film in 1994 at The Warhol museum. In 2006, Callie Angell confirmed the identity of Bookwalter in the first volume of the Andy Warhol film catalogue raisonné.
Nice
Biscotts No. 2
Meat
Packing House "The
film is absolutely hilarious with a real grindhouse feel (no pun
intended) coming from both the music and color palette. Meat
Packing House shows the incredibly clean, humane, and sexy
side of cattle slaughter. And at every turn we are reminded by real
life Uruguayans that they really do have "the best beef".
Known for "good beef and good football", this place looks
like a tourist's dream come true. People and cattle alike sunbathe
on the beach and then the beautiful men and women go out to extravagant
beef parties where meat platters flash in front of the camera..."
_______________________________________________ |
||||
