Hi All,

Via Anthology's cat film program a couple years ago:

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)
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…
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

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.


Jacques Tourneur
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,
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
2004, 58 minutes, video.

And panther's are cats right? http://www.youtube.com/watch?v=xMiRxq12Fx0



On Sat, Aug 16, 2014 at 11:52 AM, Francisco Torres <fjtorre...@gmail.com>

> 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.
>>> >
>>> >_______________________________________________
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>>  --
>>  *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
>> _______________________________________________
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