Hi All, Via Anthology's cat film program a couple years ago:
CHAT D’OEUVRES, PROGRAM 1, 2 & 3 This screening is part of: CHAT D'OEUVRES, PART DEUX Film Notes Contemporary Artist Program: Sam Anderson – DYING CAT (2011, ca. 7 minutes) Michel Auder – CAT PIECES (2011, 5 minutes) Agnès b. - 2000-YEAR-OLD CAT (2010, 1 min 15 sec) Pola Chapelle – HOW TO DRAW A CAT (1973, 3 minutes) Lynn Christoffers – THE LONG TAKE – PRISCILLA IN LOBSTERVILLE (1998, 8 minutes) Brigitte Cornand – [UNTITLED] (2011, 2.5 minutes) Anne Deleporte – FELIS CATUS (2011, 1.5 minutes) Tracey Emin – BABY STRANGE (2011, 1 minute) Paul-Armand Gette – THE CAT GIRL (2011, 2.5 minutes) Eleanor Hubbard – ART IMITATES CAT (2011, 4.5 minutes) Joan Jonas – PHILOSOPHER'S WALK (2011, 2.5 minutes) Jonas Mekas – LIFE, LOVE AND DEATH OF MAXI (2011, 20 minutes) Carolee Schneemann – MYSTERIES OF THE PUSSIES (1998, 6 minutes) Rob Wynne – BABY (2011, 1 minute) 20th Century Artist Program: Joseph Cornell – A LEGEND FOR FOUNTAINS (1957/65, 17 minutes) Andy Warhol – EAT (1963, 35 minutes) Elizabeth Fuller Chapman, aka Bobsy Goodspeed – historic footage with Calder, Duchamp, Matisse, Mondrian… COMMENT VIVRE SANS CHAT / HOW TO LIVE WITH NO CAT (1982, 11 minutes, episode of the tv program "30 Million Friends" with the painter Leonor Fini) Pierre Jallaud – VERONIQUE AND THE CAT (1964, ca. 15 minutes, with Delphine Seyrig) Feature Film Program: Miranda July's THE FUTURE (2011, 91 minutes) When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves. Plus: Jacques Tourneur CAT PEOPLE 1942, 73 minutes, 35mm And another Cat Program Anthology did in three parts: Stan Brakhage NIGHTCATS (1956, 8 minutes, 16mm) Stan Brakhage CAT’S CRADLE (1959, 6 minutes, 16mm) Stan Brakhage PASHT (1965, 5 minutes, 16mm) Stan Brakhage MAX (2002, 4 minutes, 16mm) Pola Chapelle INTERCAT ’69 (1969, 15-minute excerpt, 16mm) Alexander Hammid & Maya Deren THE PRIVATE LIFE OF A CAT (1944, 22 minutes, 16mm) Joyce Wieland CATFOOD (1968, 13 minutes, 16mm) Samantha Anderson NOBODY REALLY LIKES SURPRISES (2009, 8 minutes, video) Michel Auder CHELSEA CATS (2009, 5 minutes, video) Martha Colburn CATS AMORE (2001, 2.5 minutes, 16mm) Annette Messager ONLY MY CAT UNDERSTANDS ME (2009, 3 minutes, video) Tania Mouraud CATS AND DOGS (2007, 1.5 minutes, video) Brigitte Cornand CHATBIRD (2009, 4 minutes, video) Tracey Emin SHOWING ME THE WAY TO HEAVEN (2009, 3 minutes, video) Ernst Caramelle UNTITLED CAT (2009, 1 minute, video) Nancy Holt KARUNA (2009, 4 minutes, video) Jonas Mekas FATHER AND DAUGHTER (2003, 3 minutes, video) + FATHER AND DAUGHTER, (2007, 10 minutes, video) Carolee Schneemann FUSES (1964-66, 30 minutes, 16mm) Carolee Schneemann INFINITY KISSES – THE MOVIE (2008, 9 minutes, video) Carolee Schneemann VESPER’S POOL (1999-2000, 8 minutes, video) Su-Mei Tse & Jean-Lou Majerus EASY DANCING (2001, 2.5 minutes, video) Rob Wynne 1975 (1975 - 2009, 1 minute, video) David Weiss & Peter Fischli KITTY / BÜSI (2001, 6 minutes, video) Chris Marker THE CASE OF THE GRINNING CAT / CHATS PERCHÉS 2004, 58 minutes, video. And panther's are cats right? http://www.youtube.com/watch?v=xMiRxq12Fx0 :) Plus: THE CASSANDRA CAT by VOJTECH JASNY On Sat, Aug 16, 2014 at 11:52 AM, Francisco Torres <fjtorre...@gmail.com> wrote: > here kitty... > > https://www.youtube.com/watch?v=Bo0c8FnjW0k > > > 2014-08-16 5:19 GMT-04:00 <nicky.ham...@talktalk.net>: > > Bell Book and Candle, >> >> The Incredible Journey (Disney film abut three pets on a 200 mile >> journey. Includes a swimming siamese cat). >> >> Nicky. >> >> >> >> -----Original Message----- >> From: Benjamin Leon <benj.l...@gmail.com> >> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> >> Sent: Sat, 16 Aug 2014 9:19 >> Subject: Re: [Frameworks] cat films >> >> *Fuses* of course ! And* Plumb Line* (1968-1972) by Carolee Schneemann >> too. >> >> >> 2014-08-16 9:49 GMT+02:00 <nicky.ham...@talktalk.net>: >> >>> Gummo and Withnail and I have cats in them, albeit briefly. >>> >>> Nicky >>> >>> >>> >>> -----Original Message----- >>> From: Peter Mudie <peter.mu...@uwa.edu.au> >>> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> >>> Sent: Sat, 16 Aug 2014 5:48 >>> Subject: Re: [Frameworks] cat films >>> >>> It's an odd question, really - looking for films with/about cats. If you >>> get onto YouTube and type in a search for 'cats', 'wacky cats' and/or >>> 'awesome cats' you will find something around 2 billion choices to build >>> your exhibition around - none of them worthwhile. Do a search (with the >>> same criteria) for 'chipmunks' or 'hamsters' and you'll find less, but >>> about as discerning as the 'wacky cats' list. Any exhibition that results >>> from a deep curatorial insight about cats will probably leave you in the >>> same zone as all the YouTube ones. >>> >>> If someone asked me what my favourite film was that had a cat within it - >>> that is, different from 'a hard-boiled cheap detective getting away from >>> the grips of a femme fatale' or 'a Joe-Bob Mr America saves the world from >>> certain destruction' scope of subjects (which I guess isn't all that >>> dissimilar to 'wacky chipmunk' or 'look what a hamster can fit in his >>> mouth' videos) - I would have to say Nightcats (by Brakhage). >>> >>> Peter >>> (Perth) >>> >>> >> What else could we shown in a Cat Film Fest? >>> > >>> >As Ekrem mentioned, there's Cat Cradle and Fuses. Dunno if the amount of >>> >kitteh-kontent is high enough for a feline fest, but the presence of the >>> >pussy... er, scratch that [Meow!] I mean the context of the cat, is the >>> >unraveling intertextual ball of string tying the two works together, or >>> >maybe being batted away from StanCat by CaroleeCat, or maybe the mirrored >>> >meowser is Schneeman's way of saying, 'my little furry pet is purring >>> >because she just pounced on some wee bit of pickle, and by the way, did >>> >you know that cats are independent creatures who do their own thing >>> >instead of licking their masters fantasy boots, and cats have really >>> >sharp claws they can dig into your untutored eye if you piss them off by >>> >mixing up which human is owned by which cat, and somehow indicate you >>> >think you own even one cat much less two, so go pine in the pines with >>> >your poor putrefying pooch and leave my kitty alone!" >>> > >>> >.... >>> > >>> >You could show Marker's 'Case of the Grinning Cat' which also might be a >>> >little light on actual kitty-kontent, but again the cat-concept is pretty >>> >important, and any excuse to show Marker is always a good excuse. >>> > >>> >.... >>> > >>> >Or you could go conceptual rather than representational: >>> > >>> >I read somewhere that felines large and small are "creatures who spend >>> >most of the time sleeping between brief bursts of activity." >>> > >>> >So I'm thinking you could show all 5 hours and 21 minutes of "Sleep", in >>> >a room filled with sofa and actual cats, so after puzzling over what do >>> >do with themselves for awhile, instead of getting annoyed and heading to >>> >the box office in angry mass protest to The Management, the viewers would >>> >figure they can emulate the cats and sooner or later pretty much the >>> >whole audience would be sleeping along with John Giorno, curled up on a >>> >couch like Giorno, but with cuddling kitties, sometimes coming and going >>> >but mostly sleeping as cats mostly do. Taking the cat cues, they might >>> >conclude that 'Sleep' is not the title of a 'movie' you 'watch' but might >>> >be a gentle imperative, like a Yoko Ono instruction, to stage the most >>> >simple and mundane action as a form of Art. Or not. Either way, they're >>> >in cat-mode, so it's basically nappy time whenever they feel like it no >>> >matter what else is going on in the room, and from time to time they'll >>> >wake up, yawn, stretch, look around a little bit ‹ maybe watch the screen >>> >for awhile, maybe watch the other people sleeping, maybe think about how >>> >many hours John Giorno has spent sleeping since 1963, maybe wonder how >>> >many hours of sleep they'll have before they join Warhol in eternal >>> >slumber, maybe think about what a room of people sleeping because a >>> >silent black and white film of a man dozing on a couch can't keep them >>> >awake means in light of Warhol's claimed intent of documenting sleep for >>> >historical purposes since no one slept anymore due to the miracles of >>> >modern chemistry. But, being cat-people for the evening, they wouldn't >>> >think about those things too long or too hard before slipping back into a >>> >REM state with a dreamy revelation that the proper nouns 'Walter' "White' >>> >and 'Warhol' all begin with a 'W'. Then, maybe 90 minutes later, they >>> >wake up since the man-cat on the next couch is shattering the silence >>> >with loud irregular apneas and hypopneas because he didn't think to bring >>> >his C-PAP to a film screening, only, on awakening, they don't dig out >>> >their cell phones to check how much longer the film is going to run, they >>> >just realize they're hungry, and the smell of chicken and fish is coming >>> >from the lobby. So they amble out of the screening room and over to the >>> >concessions area set up especially for the screening, where they get >>> >served sashimi and/or poulet kabobs, (or Tuna hot dish if it's at The >>> >Walker), and at this spot there are benches set up by big picture windows >>> >where they can sit awhile and watch birds fly back and forth from the >>> >feeders outside, but the benches aren't that comfy so they head back to >>> >the couches in the screening room soon enough, tummies full and fall back >>> >into the rhythm of "Sleep"s sleep. When they wake up again after a big >>> >orange Maine Coon cat licks some hot-dish off their cheek, they sit up, >>> >the cat hops onto their lap and starts to purr, they reach down to pet it >>> >without thinking about it. Then it dawns on them that since they're doing >>> >the stroking and not getting stroked, their personal cat analogy is >>> >breaking down, and they start thinking like a human again, but still >>> >retaining a kind of felinious disposition. Some thoughts that might >>> >follow: Andy Warhol was like some kind of mutant future-cat, since he >>> >maintained a feline indifference and inscrutability while never sleeping >>> >and working constantly; "Sleep" is celluloid-projection-as-cat since it >>> >has 'bursts of activity' mixed in with the sleeping, and combining the >>> >two is pretty much the only way to make it from beginning to end (though >>> >'sleeping' might be more figurative than literal); why am i able to look >>> >at the screen now for awhile without getting annoyed?; "Sleep" is >>> >celluloid-projection-as-cat since it's indifference to you is >>> >nevertheless amiable enough; hmm, I notice most of the other people are >>> >watching now too, I wonder what they're thinking?; and so on. The film >>> >ends. The lights come up, and the audience makes its way out through the >>> >lobby, passing posters with cat adoption info from the local shelters and >>> >half a dozen monitors of different types and sizes playing the Turn Down >>> >For What Cat Video on an endless loop. >>> >(https://www.youtube.com/watch?v=6yfGA6pBFVI) Once the last patron has >>> >gone, and the program committee is emptying the litter boxes and rounding >>> >up the cats and putting them back in their carriers, someone will say, >>> >"Folks, I think we've just set the all-time record for the most people >>> >who began a screening of 'Sleep' being present at the end." And someone >>> >else might reply, "Yeah, but Andy might ask 'What fun is that?'" Then >>> >they get distracted by a tuxedo fighting with a tortie screaming bloody >>> >murder while a midnight black long-hair rubs against their legs. And when >>> >they return to the question later, they hear the question Warhol might >>> >have asked in the deadpan tone with which he would have asked it, which >>> >wasn't a tone expecting an answer, or maybe suggesting that any answer >>> >would do. "Sleep" doesn't tell you how to watch it, because it doesn't >>> >care how you watch it, or how you watch it, or what you think about it, >>> >or anything else. It just presents you with an experience you probably >>> >can't process within the headspace you brought into the screening room. >>> >There must be SOME metaphysical significance to what happens after that, >>> >but I'm too tired to think about it, and this activity burst has come >>> >t... zzzzzzzzz. >>> > >>> >_______________________________________________ >>> >FrameWorks mailing list >>> >FrameWorks@jonasmekasfilms.com >>> >https://mailman-mail5.webfaction.com/listinfo/frameworks >>> >>> _______________________________________________ >>> FrameWorks mailing >>> listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks >>> >>> >>> _______________________________________________ >>> FrameWorks mailing list >>> FrameWorks@jonasmekasfilms.com >>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>> >>> >> >> >> -- >> *Benjamin * >> >> * Benjamin Léon * >> Ph.D Candidate in Film Studies >> benj.l...@gmail.com >> (Fr) + 33 (0)6 28 07 18 00 >> (US) + 1 (646) - 812 - 0692 >> Skype : benjil75 >> >> _______________________________________________ >> FrameWorks mailing >> listFrameWorks@jonasmekasfilms.comhttps://mailman-mail5.webfaction.com/listinfo/frameworks >> >> >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > -- ....... Everyone's got a right to be a damn fool. *Je veux que je veux.*
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