Artists' Television Access

Author: Fara

  • On Vacation: Three Trilogies by Dan Anderson

    Dan Anderson is most known as a maverick Midwestern film programer, having founded Minnesotaʼs Bearded Child Film Festival, as well as programing the Arkansas Underground Film Festival and Hot Springs Documentary Film Festival.  These rarely shown short films combine a rural, vanguard sensibility, with hand-made experimentation and a voyeuristic taste of Americana. Blog at cineplosion.blogspot.com

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    Leisure Series
    Three “experimental travelogues” that explore leisure and the nature of being. All shot on film and hand-processed, both color and B/W.

    “Idle Hours” 9min, super 8mm, 2007
    – Silent, super 8, b/w film shot in Uruguay and Argentina.

    “The Joy of Leisure” 6min, super 8mm/16mm, 2004
    -A psychedelic journey through Middle America, made in response to the 2004
    Presidential elections. Hand-developed color film flutters with the American dream.

    “On Vacation” 6min, super 8mm/16mm, 2005
    – Two wealthy businessmen, one man and one dog, take a pleasure jaunt through
    roadside America

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    Freudian Trilogy

    Three psychoanalytic narratives exploring battles between the Id and Superego, sudden
    subconscious backflips and mind-melting self-realizations.

    “Auto Domestication” 9min, super 8mm on video, 2003

    “Tea Party” 10min, 16mm on video, 2003

    “Cookies For Satan” 12min, super 8mm/miniDV, 2004
    (Featuring RuPaul Drag Raceʼs Sharon Needles.)

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    Analog Explosion
    A sampling of analog videos from CINEPLOSION Productions, an Arkansas-based live
    projection, music video and VHS production studio founded in 2009.

    “Sports on Fire” 8min, VHS, 2009

    “Bird Nest” 7min, VHS, 2010

    “Cat Cadg” 4min, VHS, 2011

     

  • UNEXPECTED VIEW

    An evening of sound/film performances with:

    Irwin Swirnoff

    Jon Porras

    Linda Scobie and John Davis

    Ben Bracken and Paul Clipson

    Irwin Swirnoff makes films, takes photos, writes creative non-fiction and gets inspiration from all kinds of music. His work wants to take you on faded daydreams filled with longing, desire, and lingering memories. He’s interested in capturing the wonder of the everyday, and remembering that our bodies might know a lot more than our minds.

    Jon Porras is a Bay Area musician whose work focuses on combining open tuned guitar with effects and processing. With clear cut roots in Americana and West Coast guitar, his work ranges from sparse, finger-picked passages to densely layered walls of melancholic wash.

    Linda Scobie is DIY filmmaker who works in 16mm. Her films have been shown in the Black Maria, Antimatter and Ann Arbor Film Festivals. Her latest piece “Sky Dogs” is a 20 minute paper animated voyage through the cosmos, with dogs.

    John Davis is an Oakland artist working with moving images and sound, expanding their relationships through experimentation, chance, collaboration and improvisation. Current performance work investigates various sound and image delivery systems, their material bi-products, and the range of sensory possibilities that exists between them.

    Ben Bracken Is a musician and artist living in Oakland, California, who explores possibilities of echo-relocation in sound-based art.

    Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on live performances, films and installations.

     


  • Colectivo Cinema Errante presents: “Brazilian voices of cinema”

    À Meia-Noite Levarei Sua Alma

    [At Midnight I’ll Take Your Soul]
    (José Mojica Marins, 1964, 105 min)
    Coffin Joe, an undertaker, believes in the “continuity of the blood.” A sadist, he prowls the city in search of a woman to bear him an immortal child, while terrorizing people.

    Zé do Caixão está a procura da mulher perfeita pra dar luz a seu filho, e aterroriza uma pequena cidade com suas práticas sadísticas.

    Amor Só de Mãe [Love from Mother Only]
    (Dennison Ramalho, 2003, Brasil, 21 mins)
    A macabre tale of lust, motherly affection and macumba shot with conviction and style.
    Uma história macabre de amor de mãe.

     

    Brazilian voices of cinema

    Brazil helped pioneer filmmaking in the Americas, screening its first film in Rio de Janeiro all the way back in 1897, and its first documentary in 1903. The approach for this series was to strike a balance between art house and commercial film and, by covering different eras, genres and styles, touch  upon various cornerstones of Brazilian cinema.  Silent film began in Brazil with Antônio Leal’s thriller “Os  Estranguladores” (1906); followed by Humberto Mauro’s “Brasa Dormida” (1928)  and “Ganga Bruta” (1933); Adalbert Kememy’s avant-garde “Sao Paulo: Sinfonia de una Metropoli” (1929); and Mario Peixoto’s avant-garde “Limite” (1930).

    In the ‘40s Brazilian cinema became overrun by Hollywood films. Companhia Cinematografica de Veracruz, a replica of the American studio system, produced mostly melodramas – Lima Barreto’s “O Cangaçeiro” (1953) obtained critical and financial success. In the ‘60s a movement called Cinema Novo came to dominate for two decades.  A move away from the Hollywood production style, it was led by intellectuals like Glauber Rocha — “Antonio das Mortes” (1969) — who sought to create a distinctly Brazilian mode of filmmaking. In 1967, Ozualdo Candeias’ “A Margem” gave birth to Cinema Marginal, that sought to represent the life of society’s forgotten people. “Cinema Novo was a movie a little individualistic,” said José Mojica Marins,  a marginais on his own whose Zé do Caixão (Coffin Joe) horror b-movies would become cult classics.

    The creation of Embrafilme, a government agency in charge of financing and  distribution, allowed Brazilian cinema to flourish during the 1970s and  ‘80s. Bruno Barreto’s “Dona Flor e Seus Dois Maridos” (1976) and Carlos Diegues’ “Bye Bye Brasil” (1980) belong to this period.  Embrafilme’s dissolution in 1990 nearly stopped cinematic output in Brazil altogether. Still, figures like Walter Salles, Fernando Meirelles and Karim Ainouz — “Madame Satã” (2002) — were able to produce films despite the adversities.

    We are accompanying the series with shorts by three emerging local voices: Carolina Moraes-Liu, Rita Piffer and Savana Vagueiro, along with shorts by  renowned Brazilian filmmakers Jorge Furtado, Dennison Ramalho and Carlos Vergara. A lot of voices to choose from that leave the door open for a second  installment next year. We hope you enjoy the programs.

    —Colectivo Cinema Errante