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  • The Man Who Laughs

    TRASH FISH ENTERTAINMENT CORPORATION is once again proud to present Paul Leni’s 1928 almost-a-masterpiece “The Man Who Laughs,” accompanied by a new score performed live by TFEC recording artists The Zag Men. Starring Conrad Veidt (the somnambulist from CALIGARI), the whey-faced Mary Philbin, and the uncanny Madonna impersonator Olga Baclanova, THE MAN WHO LAUGHS updates Victor Hugo’s little-read melodrama L’Homme Qui Rit with a thoroughly Americanized ending and mega-budget production design – but no amount of Hollywood whimsy can neutralize Veidt’s bizarre performance as the kindly stage actor with a sinister grin permanently carved into his face.  For this screening, the original Movietone score has been discarded in favor of metal-improv dissonance (courtesy of The Zag Men), and a newly butchered version of the film has been prepared – deleting over half an hour of original footage (including more than two dozen crucially important scenes) as well as many of the explanatory intertitles.  Don’t miss your chance to see this important piece of Hollywood history defaced by rock-and-roll anarchists!

    TFEC recording artists The Zag Men (Lester “Tombstone” Raww, Col. Timothy Leather, and S. Dodds) have previously presented new scores to NOSFERATU  and  FAUST at ATA.  The Zag Men cite Zappa, the Residents, Robert Fripp, and Reagan’s Polyp as primary among their influences. Earplugs are recommended for those with an aversion to “incorrect” chord progressions and/or heavy distortion.

  • MadCat window installation constructed by Rebecca McBride and Gracie Bucciarelli

    Featuring films and videos by Amy Hicks, Jadwiga Kowalska, Pavitra Wickramasinghe, Akosua Adoma Owusu, Samantha Krukowski, Vonda Yarberry, Anita Bacic and Natalie Woodlock, Fabienne Gautier, Liselotte Wajstedt, Anabela Costa, Paulina Velazquez Solis, Meredith Root and Cecilia Lunqvist.

    More information, titles and running times of each piece can be found on the MadCat website

  • The Sword and Sandals – Reagan´s Memory – Fkenal (from San Diego)

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    Free Jazz, Destructive Rock and mass caos at the ATA

    – The Sword and Sandals

    The “sword and sandal” film genre usually refers to a low-budget Italian movie on a gladiatorial or mythological subject; for the genre occupied much of the less pretentious segment of Italy’s movie industry before the invention of the spaghetti western. Noise-rock guitarists were perennial favourite subjects, as were the adventures of Hercules, Jason and the Sceneonauts, or the more recent legendary strongman John Dwyer. The fad began with the 1959 release of Hercules, starring American bodybuilder Mike McGuirk. This spawned the 1960 sequel Hercules Unchained, among literally dozens of low-budget imitations starring other bodybuilder stars such as Reg Park or Alan Steele.

    The absurd plots, out-of-synch dialogue, wooden acting of the muscleman heroes, and pitifully primitive special effects that were utterly inadequate to depict the legendary creatures on-screen, all conspired to give these films a certain camp appeal.

    – Reagan’s Memory

    Reagan’s Memory, comprised of Anthony Desimone on drums, Ian Enggasser on guitar, and Douglas Katelus on Rhodes keyboards, took their real-time new media experience beyond the realm of a rock concert performance and into the crashing experience of audio interactivity. When Reagan’s Memory combined hard instrumental noise with overhead projections of exploitation films, they seemed to take on the pretext of scoring a visual narrative; but their sound and images created a heavy mood with a nonlinear experience.
    The audience seemed surprised by the raw approach to both their music and imagery, hanging onto this multimedia ride to find a way out of the cascading crescendos of audio demolition. Douglas Katelus, who plays the keyboards, is a San Francisco based filmmaker, who describes himself as an “improvisational/ psychedelic/ hardcore/ noise/ jazz guitar player/ composer”. He describes his films much in the same way that his performance can be explained. “My films are an indirect reflection … a sudden and uncontrolled out-lash,” he said. “I do not choose the images taken, but rather allow the camera to make its own decisions.” Aside from the band’s instruments, Reagan’s Memory utilized other sound techniques that enhanced their performance, such as dropping silverware onto the floor and mixing sound bites of Ronald Reagan’s voice into the film. The visuals were created by Rachel Manera, a local filmmaker, sound artist and performance artist. Her imagery included archaic stock footage of nuclear testing and other outtakes of government documentaries that were combined with early Hollywood schlock and psychedelic animation.

    article by Jamie Windborne, Arts Extra! editor http://artnewsextra.com/xyz/review/rev_051109_rxgallery.html

    http://www.springsteenrocks.com/reagans.htm

    – Fkenal (from San Diego)

    Band Members:
    eric – nucleus / rob – protoplasm / leo – membrane / dennis – visual cortex

    http://www.myspace.com/fkenal