Saturday, January 23, 2016, 8:00 pm, $7-$10
An evening of visceral and provocative handmade films that explore bodies, acts of the solitary, text, language, visual information and personal exposure. Nazlı Dinçel’s work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire in juxtaposition with the medium’s material: texture, color and the passing of emulsion. Her use of text as image, language and sound attempts the failure of memory and her own displacement within a western society. Tonight’s screening will also include two works by local filmmaker Linda Scobie.
Run time: 64min
Craig’s Cutting Room Floor 16mm, 2min, color/b&w, 201
A fragmented journey through cinema’s history taken right off the cutting room floor
Reframe 16mm, 4min, Color, Silent, 24fps, 2009
8 stereoscopic slides taken to the jk-104 optical printer, shot frame by frame, by hand. The slides were found at a thrift store, of Cuba between 1948 and 1950 taken by an army officer. To reclaim his touristic gaze, photographs are fragmented into new frames, reviving the bodies that may have perished by the revolution in 1952.
Green Rocky Road 16mm to digital, 6min, color, sound 2012
Promenade in green
Leafless 16mm, 8min, Color, Silent, 24fps, 2011
Leafless is an expansion of collections, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape
Her Silent Seaming 16mm, 10min, Color, Super 16 Image-Sound, 24fps, 2014
A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless (2011) and motifs of the “feminine”. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Direct sound of cuts and hand processing are composed of 26 frame shots. Unsynced, it reveals a hearing of past images, as an act of translation.
Sharing Orgasm: Communicating Your Sexual Responses (Found Film) 16mm, 12 min, Color, optical sound, 24fps, 1977
Solitary Acts #4 16mm, 8min, Color, Optical Sound, 24fps, 2015; Exacto Knife, Typewriter
The filmmaker films herself masturbate the object of debate. She hears others claim her body, her habits: those in her conservative surroundings as a child. She learns how to read.
Solitary Acts #5 16mm, 5min, Color, Sound, 24fps, 2015; Exacto Knife, Fishing Line, Sewing Machine
The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations that are both sexual (kissing) and bodily (eating). She ends up eating the carrot she is masturbating with, and she feels a sense of cannibalism.
Solitary Acts #6 16mm, 11min, Color, Optical Sound, 24fps, 2015; Exacto Knife, 1.5mm Letter Punches, Hammer, Leather Puncher
The filmmaker films her subject in a private act, complicating what could be considered a solitary act. This is a feminist critique of the Oedipal complex. It is not the male child’s desire to have sexual relations with the mother. It is the mother’s desire to be sexually attracted to child-like men. The filmmaker recounts an abortion she had in 2009. If she had the child, he would have turned six in 2015. The aborted child survives and becomes her lover.
VOID (4.INABILITY) 16mm, 4min, Color, Silent, 18fps, 2016
Inability is the first film in the series about human failure. The filmmaker destroys and re-creates a film she was unable to finish in 2013. Filmed at the Sutro Bath ruins in San Francisco and in final domestic spaces occupied with her husband. Film was destroyed in ocean water.