Shorts

THE DESTRUCTIVE IMPULSE

[The films in this program are not suitable for people with Epilepsy]

Total running time 78’

NOSTALJI (NOSTALGIA), 1971

Director:Hollis Frampton

36’, 16mm | English

S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED, 1971

Director:Paul Sharits

42’, 16mm| English, No dialogue

The Destructive Impulse, which consists of Hollis Frampton’s (nostalgia) and Paul Sharits’ S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED, opens the door to mental and physical destruction. Frampton searches for the cinematic equivalent of nostalgia in his film which he renders a temporal game through photographs and memories, while Sharits’ film, which Michael Snow calls “a very powerful vandalism,” tries to provoke the viewer by fully utilizing the possibilities of film stock through deploying rapid bursts of images.

THE EDGES OF FILM

[The films in this program are not suitable for people with Epilepsy]

Total running time 67’

CORRIDOR, 1970

Director:Standish Lawder

22’, 16mm |No dialogue

GLOBE, 1971

Director:Ken Jacobs

22’, 16mm (with 3D filters)| English

SERENE VELOCITY, 1970

Director:Ernie Gehr

23’,16mm |Silent

The Edges of Filmconsists of three films–Standish Lawder’s Corridor, Ken Jacobs’s Globe, and Ernie Gehr’s Serene Velocity–about the limits of film stock and the possibility of creating new meanings by pushing these limits. As the directors experiment with lens and focal point, they question the limits and by doing so pave the way for presenting cinema as a new experience that appeal to human mind.

ROBERT BREER SELECTED WORKS

Total running time 49’

70 | 1970| 4' 35''

GULLS AND BUOYS | 1972 | 6'

FUJI | 1973 | 9’

77 |1977|10’

LMNO |1978 / 10’

T.Z. | 1979 | 9’

In his animations, Robert Breer, one of the masters of avant-garde cinema, succeeds in creating various surprises and witty rhythms. He invites the viewer to make a discerning effort in perceiving what is happening on the screen by using abstract imagery, drawings made by rotoscoping, 16mm visuals, magazine cut-outs and the amalgamation of all these in rapid rotation. Breer, who also created the animation work in New Order’s video for the song “Blue Monday”, states that he makes his films to surprise himself, while Jonas Mekas describes Breer’s art as “cinema of joy.”

THE MIGHTY OF HER

Total running time 89’

SOFT FICTION, 1979

Director:Chick Strand

56’, 16mm| English

NEAR THE BIG CHAKRA, 1971

Director:Anne Severson

17’, 16mm| Silent

DOUBLE STRENGTH, 1978

Director:Barbara Hammer

16’, 16mm |English

The Mighty of Her,which is a selection of works by the leading female directors of the era who display their feminist and queer worldviews. These three filmsaim at freeing cinema from the hegemony of the masculine point of view. While Chick Strand’s film Soft Fiction is a study in personal documentary about female lust, Barbara Hammer focuses on the dynamics of a lesbian relationship in Double Strength. On the other hand, Anne Severson’s radical film Near the Big Chakra consists of close-up shots of vaginas belonging to women in different age groups.

VIDEO AS ART

Total running time 94’

STAN VANDERBEEK’IN VIDEO ÇALIŞMALARI

STAN VANDERBEEK SELECTED WORKS

NEWSREEL OF DREAMS: PART I| 1976 | 28’

STROBE ODE | 1977 | 11’

VANISHING POINT LEFT| 1977 | 9’30’’

COLOR FIELDS LEFT| 1977 | 7’47’’

MIRRORED REASON| 1979 | 9’22’’

GLOBAL GROOVE, 1973

Director:Nam June Paik & John Godfrey

28’, Digital

The advancements in technology affected the experiments in cinema. “Video as Art”, a selection of works by artists who integrate technology with art and use video as their medium of choice instead of film stock. Stan VanDerBeek’s video works, which consist of collages of various materials, and subliminal dance and poetry, provide strong references for today’s video craze and its derivatives, while Nam June Paik and John Godfrey’s Global Groove approaches a cinematic language far ahead of its time which will be the standard for the “MTV Generation”.