Not sure if the next "This Week..." will get out before Saturday's show so
posting the info here too:
"Rewriting Film History, Reinventing Film Apparatus"
curated by Enrico Camporesi
w/ 16mm films by Jean-Michel Bouhours, Werner Nekes, David Wharry, Mary
Helena Clark, Ernst Schimdt Jr., and Peter Miller
Microscope is very pleased to present "Rewriting Film History, Reinventing
Film Apparatus", a program of 16mm films curated by Enrico Camporesi. The
evening includes historical and more recent works by Jean-Michel Bouhours,
Werner Nekes, David Wharry, Mary Helena Clark, Ernst Schimdt Jr., and Peter
Miller that have rarely, if ever, screened in the US, on loan from the
Light Cone Collection (Paris).
(approximately 52 minutes)
"Intermittences non regulées d’Etienne-Jules Marey
Jean-Michel Bouhours", 1978 / 16mm, bw, sil., 14 min.
"Blick aus dem harmonischen Gefangnis"
Werner Nekes, 1982 / 16mm, col., op. sound, 11 min.
"Phaeton – General Picture. Episode 5"
David Wharry, 1978 / 16mm, col., op. sound, 7 min 25 sec.
Mary Helena Clark, 2013 / 16mm, bw, op. sound, 6 min.
Ernst Schimdt Jr., 1966 / 16mm, bw, op. sound, 10 min.
"A Film that Cleans your Eyes"
Peter Miller, 2010 / 16mm, col., sil, 3 min.
Enrico Camporesi's description of the show follows:
The notion of rewriting film history has constantly haunted moving image
production. In the same way, challenging the basic cinematographic
apparatus (the screen, the projection, etc.) has been a crucial issue in
avant-garde filmmaking. The program seeks to explore the diverse strategies
that have been adopted by experimental and avant-garde filmmakers in order
to investigate such themes. The films are selected from the collection of
Light Cone, the main European distributor for experimental and avant-garde
films, and have been rarely (if ever) screened in the United States.
The archeological inquiry on the origins of cinema stands at the core of
the first two films. Jean-Michel Bouhours (one of the key figures of the
French scene of the 1970s, and former film curator at Centre Pompidou)
reactivates and puts into motion Etienne Jules Marey's photographic
decomposition of the movement. In this process Bouhours inscribes Marey's
scientific experiments into the origins of film, thus providing a different
paradigm from the usual supremacy of the Lumière brothers. Another possible
genealogy of the moving image is staged by Werner Nekes. In Blick aus dem
harmonischen Gefangnis (1982) the German filmmaker and connoisseur of
optical toys reconnects the cinematographic apparatus to a play of light
and shadows, not far from the oriental traditions of shadow theaters.
Projection therefore stands at the core of this re-reading. Such is the
case also of David Wharry's film Phaeton (1978), in which the phenomenon of
projection is investigated in a humorous and lyrical manner. A voice over
gives instructions to the viewer so that he can see the film not by means
of the reflection of the screen, but in his own mind. Wharry's displacement
of the viewer and apparatus makes them virtually coincide.
Mary Helena Clark's recent rendition of Jean Cocteau's Orpheus deals in an
inventive way with the heritage of a classical avant-garde film, proposing
an alternative hypothesis of the making of Cocteau's work. The attention is
in this case brought to the (invented) outtakes. This neglected element is
also reworked by Ernst Schmidt Jr., the Viennese filmmaker close to the
Actionist scene. In Filmreste (1966) he edits scraps of his own films,
attacking them with painterly brushes and providing what in his words was
meant to be “a trailer for cinema to come”. The closing film of the
program, by Paris-based American artist Peter Miller, is part of a series
of “useful films” (also, an example of “cinema to come”). A Film that
Cleans your Eyes (2010) is meant to end the screening freeing the viewer
from all the images previously experienced.
Enrico Camporesi is an Italian writer and curator based in Paris. He is a
research fellow at Centre Pompidou and a Ph.D candidate in a joint program
between the University Sorbonne Nouvelle and the University of Bologna. His
current research focuses on matters of restoration and museology of
experimental and artist’s film. His writings on the moving image have
appeared in Necsus – European Journal of Media Studies, Fata Morgana, La
Furia Umana, and in several edited volumes. He curated screenings for
Centre Pompidou, Light Cone, and Cineteca di Bologna.
Light Cone is a non-profit making organization with the aim of promoting,
distributing and preserving experimental cinema. Its remit covers the
different historical forms, as well as contemporary research, both in
France and abroad. Its collection is by virtue of its size and
comprehensiveness one of the most important and valuable collections of
experimental film in Europe. Light Cone distributes nearly 3700 works -
Super-8, 35mm and above all 16mm films, works of expanded cinema
(multi-screen projection) as well as analogue and digital videos. More than
500 international artists and filmmakers made these films from 1905 onwards
to the present day.
4 Charles Place (at Myrtle bwtn Bushwick & Evergreen)
Brooklyn, NY 11221
J/M/Z Myrtle/Broadway (5 min. walk)
other options: L Morgan Ave or Jefferson Street (12 min walk)
L to Myrtle/Wyckoff transfer J to Central Ave or Myrtle/Broadway
B54 Myrtle/Bushwick Ave.
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