Saturday January 30, 7 PM $8
@ Polish Hall, 206 Beverley Street
Co-presentation with 8 fest; Small-Gauge Film Festival
Curated by Stephen Broomer
Brian Wilson, John Creson and Adam Rosen in attendance!
Part of Winter 2016
This programme of recent Super 8 films demonstrates the continuity of two major and related strains in small-gauge filmmaking, the diary and the travelogue. In the diary film, inscriptions of everyday life balance unpredicted turns with commonplace experiences, bearing witness to time in the travelogue, great distances collapse into fleeting visions. In these films, witness loving odes sounding across time; witness ten years condensed into an hour of light; pass the intervals between now and then; and see the film strip remembered, to mirror the paths from here to there. (Stephen Broomer)
Exquisite Interval , Michael Lyons (Super 8, 3:20 minutes, 2015)
This single reel Super 8 film is my only evidence of a Doppelgänger-filmmaker, whose current whereabouts are completely unknown. Begun in the Tempelhofer Field, Berlin, in August 2013, shooting could finally be completed in August 2015, when the camera and film mysteriously re-surfaced at the Mauerpark Flohmarkt.
Detroit / Brooklyn / Pasadena / DC / Brooklyn, John Klacsmann (Super 8, silent, 2:30 minutes, 2015)
Fremont Winds, Alan Gerlach (Super 8, silent, 8 minutes, 2015)
Fremont Winds is a playful camera journey through the Wind River mountain range in Wyoming; a new take on a summer tradition; a father and son trip carried into adulthood; a mountain summited. In the material process of editing, the film also became charged with the presence of my father and a new love and clarity I felt for him while staring at the tiny celluloid frames all night.
Disney World / DC / NYC / Maine, John Klacsmann, (Super 8, silent, 2:30 minutes, 2011/13)
Das Bild , Lilianna Marie (Super 8, silent, 2:30 minutes, 2015)
das Bild (The Image) was filmed in Berlin, Germany in May of 2015 using a Super 8 camera like a still image camera to produce approximately 3,600 individual, non-consecutive images. This use of the camera challenges moving image assumptions predicated on the continuity of frame-by-frame derived motion. das Bild was composed in response to a combinationof Situationist psycho-geographical theory, and Jameson’s third stage capitalism, in which the system producing a network is rendered invisible to an outside viewer.
Vilnius / Frankfurt / NYC / DC / New Hampshire / Brooklyn / DC, John Klacsmann, (Super 8, silent, 2:31 minutes, 2014)
The Last Scream , John Creson & Adam Rosen, (Super 8, silent, 3:20 minutes, 2013)
One journey ends, another begins. To go is to return.
Odes and Ends, Brian Wilson (Super 8, silent, 38 minutes, 2013)
A super 8 film diary. Elliptical fragments and glimpses from the past ten years. Light.
John Creson and Adam Rosen have worked together as actors, singers, performers, writers, choreographers, directors, teachers, sculptors, painters, animators, illustrators,
designers, filmmakers, puppeteers, and improvisualizers. They have made several independent, experimental short films and videos which explore their ongoing interest
in the improvisational shooting of abstract real-time performance
Alan Gerlach is a Minneapolis, MN based artist who works in sculpture, photography and filmmaking. He travels around North America during the winters, snowskating
professionally and working on personal experimental films that explore the subtleties of travel life.
John Klacsmann is Archivist at Anthology Film Archives in New York City where he preserves films of the American avant-garde. In the past he has worked as: a fireworks salesman, a computer programmer, a Class-D FM radio DJ, a Technicolor archivist, and a film laboratory technician. He currently runs a tiny tape label, ZAP Cassettes, volunteers as a 16mm projectionist at Spectacle Theater in Brooklyn, and is co-editor of the forthcoming sixth issue of INCITE: Journal of Experimental Media, themed FOREVER.
Michael Lyons (Canada/U.K.) is a researcher and artist based in Kyoto, Japan. He regularly contributes to conferences such as SIGGRAPH and SIGGRAPH ASIA, co-founded the International Conference on New Interfaces for Musical Expression, and is active as a filmmaker and sound artist. He is currently Professor of Image Arts and Sciences at Ritsumeikan University.
Lillianna Marie is an American artist living and working in Columbus, Ohio. She produces
films and moving-image works as part of her broader conceptual practice.
Brian Wilson is filmmaker and scholar from southern Illinois. Since 1999, he has made nearly 30 works in film and video, most of them in super 8. He has taught film
production at Washington University in St. Louis and Southern Illinois University, Carbondale, and his writing on narrative cinema has been published in journals such as
CineAction and Film International.
About the programmer:
Stephen Broomer (b. 1984) is a filmmaker and film preservationist, and the current scholar-in-residence at the Canadian Filmmakers Distribution Centre. He holds a PhD in
Communication & Culture, his dissertation a study of the origins of the Canadian avant-garde film. He has given public presentations of his film restoration work at Harvard,
the Art Gallery of Ontario, Pleasure Dome (Toronto), and the Canadian Film Institute, and his own films have screened at Views from the Avant-Garde, Berlin Directors
Lounge, TIFF Wavelengths, and the MassArt Film Society. In 2014, his films were the subject of a book of essays, The Transformable Moment: The Films of Stephen Broomer, edited by Scott Birdwise and Tom McSorley, and published by the Canadian Film Institute. His first book, Hamilton Babylon: A History of the McMaster Film Board, will be released by University of Toronto Press in January 2016.