I was thinking of Raban´s piece as well, and there is another Conrad work
that may fit into the idea of "well-deployed spoilers" which is his "Film
electrocution". I copy and paste from IFFR:
"A semi-scientific experiment to expose film by electrocution, involving a
Tesla Coil, medical lubricant and buckets of film developer. Results will
be screened on the spot. Conrad’s self-reflexivity is invested with far
more self-mocking humour than any other visionary experimental filmmaker
could muster. The artist’s struggle with media equipment and codes, the
effort to force them past their oppressive limitations, became an
Herculean, or Chaplinesque, battle with an unyielding authority. In *Film
Electrocution*, Conrad attempted to make an image without exposing the film
to light, submitting it instead to boiling, baking, and electroshock. See
also his *Pickled Films* in the exhibition Borderline Behaviour."
There may be a few Lettrist actions you´d like to consider as well indeed,
works falling in the realm of happening and performance that involve the
destruction of the film equipment and other reactionary actions such as
interrupting the screening several times or lock the audience in the venue.
The one by Lemaitre others mentioned is particularly interesting because
projector, screen and film were torned into pieces in front of audience.
The Viennese actionists also come to mind, with their anarchistic and
agressive performances towards the audience using balls made of barbed wire
against the screen, an "audience extinguiser", and whipping the audience
too...check Valie Export and Peter Weibel for that, or (less provocative)
the performance *The Time for ACTION has come*, by Gottfried Schlemmer in
which he cuts through the actual screen and jumps into the audience.
There´s some interesting stories about José Antonio de Maenza too
interrupting screenings and faking shoots... My own work in collaboration
with Maximilian Le Cain (Operation Rewrite) is very much connected with
this line of artistic research too, and destruction/failure of equipment
has been present in our work. Another piece that comes to mind is Ernst
Schmidt Jr.´s *Hells Angels*, involving no actual film projection but the
whole audience throwing paper balls to the screen (illuminated by naked
light from a projector). I guess that is a sort of "spoiler" too...
Hasta la vista,
2016-01-14 9:16 GMT+01:00 Steve Polta <steve.po...@gmail.com>:
> A 16mm print of Tony Conrad's *Film Feedback *is distributed in 16mm by
> Canyon Cinema.
> 1974, 15 minutes.
> Yeah I think it's a candle but it's basically "the" rectangle. White
> screen, filmed in negative becomes black, re-projected & filmed, processed
> again, re-projected/filmed pos/neg/pos/neg/etc. Becomes rectangles within
> rectangles within rectangles, alternating black/white/black/white,
> receding. At one point there is a little jam, a little frame line stutter,
> this (presumable) accidental gesture is re-photographed in subsequent
> iterations of the series and becomes a major event in this "minimalist"
> film. Now that I've written this I'm not 100% certain of presence of the
> on-screen the candle.
> This film recalls (to me) a series of performance films by William Raban
> titled *2'45* (1973), in which the filmmaker, standing in front of a
> screen, speaks a short description of the *2'45* project and is
> filmed—single take—in 16mm sync sound. The resultant married print is then
> projected (with sound), say a day later, with the filmmaker making the same
> speech (so he's on screen and in real life; get it?), this combo also being
> sync filmed. The result is then projected (so there's two of him on screen,
> rectangle within rectangle, receding) while he speaks, etc etc etc. 16mm
> feedback loop but not instantaneous; there's about a day lag between
> segments. No it's not endlessly ongoing; it's a different version on
> different occasions.
> Steve Polta
> On Wed, Jan 13, 2016 at 3:47 PM, Pip Chodorov <framewo...@re-voir.com>
>> I can provide Lemaitre's film if you are interested.
>> Isou's film ON VENOM AND ETERNITY is an earlier iteration, Lemaitre went
>> farther into self-recursion (a film about itself).
>> At 22:47 -0800 13/01/16, Cinema Project wrote:
>>> In regards to "well-deployed spoilers," I might look into Maurice
>>> LeMaître's "Le film est déjà commencé?" from 1952. It was a Lettrist film
>>> and supposed staged provocation. There's some accounts/ info on it in
>>> Off-Screen Cinema by Kaira M Cabañas.
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