3PM: Juror Screening – David Dinnell

FilmScene, 118 E College St.

Wildflowers – Margaret Honda
USA | 2015 | 3 min | 16mm
Wildflowers is shot in 16mm on two fifty-foot Kodachrome magazines. Since Kodachrome color processing ended in 2010 it is only possible to develop it as black-and-white negative, rather than color positive. I set up ten-second shots of different wildflowers that bloom every year in Southern California. Like the Kodachrome itself, the flowers would be drained of the color that is their primary attribute. The negative stock, fifty years past its expiration date and suffering from base degradation, was returned from the lab with no discernible image on either roll. A description of each flower’s color and structure is read by a narrator at the moment when it would have appeared on-screen. The film is a record of something that is disappearing on something that has already disappeared. – Margaret Honda

Auftakt – Seamus Harahan
Finland / N. Ireland | 2011 | 6.5 min | digital
Filmed in Finland, in Auftakt, Harahan observes two men through a tangle of branches, in what appears to be aggressive behavior, but turns out to be an unofficial game of football. His camera alternates this with the vapor trail of a plane high in the sky and, from time to time, a scene of a seagull standing atop a tiled roof; the seagull standing as intermediary between sky and earth. The singular soundtrack used throughout is a workshop discussion by the Estonian composer Arvo Pärt about his composition of Für Alina. Single, then two-note chords are played on a cheap electric piano, while Pärt explains his motivations and thoughts on the communication of notions and emotions. – Gimpel Fils gallery, London

Bad mama, who cares – Brigid McCaffrey
USA | 2016 | 12 min | 35mm to HD
Geologist Ren Lallatin has moved into a small housing complex located between a rail yard and the interstate. Desert vistas are replaced with an arsenal of tactile pursuits, while the situation of the house becomes unstable. Free falling from a fixed point, the perimeter is ornamented for security. Desert winds animate aluminum mobiles and seismic vibrations serenade the home. –Brigid McCaffrey

Crni film (Black Film) – Želimir Žilnik
Serbia | 1971 | 15 min | 16mm to digital
One night, Žilnik picks up a group of homeless men from the streets of Novi Sad and takes them home. While they enjoy themselves in his home, the filmmaker tries to ‘solve the problem of the homeless’ carrying along a film camera as a witness. He speaks to social workers, ordinary people. He even addresses policemen. They all close their eyes to the ‘problem.’ (www.zilnikzelimir.net)

Emergency Needs – Kevin Jerome Everson
USA | 2007 | 7 min | 16mm to HD
The material for Emergency Needs derives from a news conference held by the first African- American mayor of a large city, Carl B. Stokes of Cleveland, in response to a violent outbreak of civil unrest in the summer of 1968. Known as the Glenville Shootout after the African-American working-class neighborhood where the incident took place, the crisis began the night of July 23 when a firefight broke out between the Cleveland police and a radical black nationalist group under surveillance, leaving seven dead and many more wounded. Riots and looting ensued. Stokes promptly called in the National Guard to restore order, and the following day ordered all white officers out of Glenville, to be replaced by African-American ones. Everson presents archival footage from the Stokes press conference alongside a reenactment performed by a woman, cutting between the two or arranging them in split screen. Inspired by Robert Rauschenberg’s “identical” 1957 paintings Factum I and Factum II, where the unity of content inspires reflection on the difference of technique, Emergency Needs invites close consideration of gesture and performance at the Stokes press conference. By means of this duplication, and the imposition of new rhythmic patterns, Everson enlivens a historical document, resurrecting the conditions, tasks, and gestures of a vital moment in time by repositioning them in the present. – Nathan Lee, Whitney Biennial, 2008

The Measurements of Oxford – Barry Kimm
USA | 1989 | 9 min | 16mm
The Oxford of the title is a small town in Iowa; the measurements in question are taken on everything but the kitchen sink, from gas pumps to street signs to the townsfolk themselves. Putting aside their Midwestern skepticism, the inhabitants humor the filmmaker in his peculiar project, even acting as his cohorts. (New York Public Library)

DROGA! – Miko Revereza
USA | 2014 | 8 min | Super-8mm to HD
A Super 8 tourist film about the Los Angeles landscape through the lens of Filipino immigrants, examining cultural identity by documenting the intersections of American pop culture and Filipino traditions. – Miko Revereza

Untitled: Silueta Series, 1979 – Ana Mendieta
USA | 1979 | 3 min | Super-8mm to HD
From 1973 until 1980 Ana Mendieta (1948-1985) created over a hundred Siluetas (silhouettes) in Mexico and Iowa, using such natural materials as earth, flowers, leaves, sticks and stones as well as fire, gunpowder, fireworks, candles and cloth. Mendieta documented her earth-body works with 35mm color slides, from which she made unique prints, and video, Super-8mm and 16mm film. Of her 104 moving-image works, most were shot on Super-8mm. This film, a single reel of Super-8mm, was created in Iowa in 1979.
Mendieta described her work in an artist statement written in 1981: “I have been carrying out a dialogue between the landscape and the female body (based on my own silhouette). I believe this has been a direct result of my having been torn from my homeland (Cuba) during my adolescence. I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the way I re-establish the bonds that unite me to the universe. It is a return to the maternal source. Through my earth/body sculptures I become one with the earth … I become an extension of nature and nature becomes an extension of my body. This obsessive act of reasserting my ties with the earth is really the reactivation of primaeval beliefs … [in] an omnipresent female force, the after-image of being encompassed within the womb.” (adapted from an essay by Elizabeth Manchester, October 2009, Tate UK)
exhibition file courtesy the Estate of Ana Mendieta and Galerie Lelong, NY

Coyolxauhqui – Colectivo los Ingrávidos
Mexico | 2016 | 10 min | 16mm to HD
A mythical and ritualistic femicide. The goddess Coyolxauhqui, decapitated and dismembered, lies at the foot of the hill – simultaneous – from whose summit Huitzilopochtli – the man of war – governs a people’s destiny. It’s the update of femicide with mythical origins. Now, it’s another power, not mythical but economic-political, that drives the daily femicides, leaving behind traces on a shared earth. – Colectivo los ingrávidos (translated from Spanish by Rebecca Hanssens-Reed)

Best of May, 1968 – Jay Lash Cassidy
USA | 1973 | 3 min | 16mm
The film was made and presented at the very end of the American involvement in the Vietnam war (1973) and uses found footage – imagery that was relatively unseen at that time. It originated from a motive of “look at what’s going on here”; imagery gathered by the military for purposes of evaluation and review inadvertently tells a story not intended to be told. The unintended consequence of the juxtaposition of poetry and horror. The context of that moment – the open wound of political and personal division in the country – only exists in the memory of a generation, the youngest of which would be in their late fifties. For a younger audience, variations of the imagery are – regrettably – all too familiar. The wars in the Middle East and Afghanistan were seen with an unfettered visual sophistication and on venues – Cable News, You Tube – which can’t be denied. – Jay Lash Cassidy; September, 2011.
film print courtesy Jay Lash Cassidy and the Academy Film Archive

Kempinski – Neil Beloufa
Mali / France | 2007 | 14 min | digital
“Ethnological sci-fi documentary”, is the self-consciously contradictory way that the director describes Kempinski. Neil Beloufa traveled to Mali and asked people there to describe the future in the present tense; a deceptively rudimentary premise, but one that allows the video to capture the haunted terrain between fact and faction, the familiar and the exotic, the weight of the present and visions of what’s to come. – Andrew Berardini

Aerial – Margaret Tait
Scotland | 1974 | 4 min | 16mm
Touches on elemental images; air, water, (and snow), earth and fire (and smoke) all come in to it. The track consists of a drawn-out musical sound, single piano notes and some natural sounds. – Margaret Tait

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