Festival of (In)appropriation DVD #1 includes:
Khan (Daniel Martinico, 2008)
By re-cutting and looping a short segment of footage from Star Trek II: Wrath of Khan, Daniel Martinico acts as a puppeteer, making William Shatner twitch and tweak in various poses, periodically screaming out Khan’s name – to disturbing, and potentially hilarious, effect. This is an excerpt of a longer work.
The Blockbuster Tapes (Daniel Martinico, 2008)
This “film” serves as the documentation of a project completed between 1999 and 2002. During this period, the artist rented 100 videos from Blockbuster, manipulated very short segments of the videos, re-recorded the complete but altered videos back onto the tapes, and returned them to the store. This piece presents some of the altered segments.
Through these Trackless Waters (Elizabeth Henry, 2007)
In Through these Trackless Waters, Elizabeth Henry combines a series of fragments from nature films and educational films, which together add up to a meditation on the state of nature and the human condition, tracing connections between the ecology of the human mind and the ecology of the earth.
Utopia Variations (Gregg Biermann, 2008)
Part of a series of video works by Gregg Biermann that uses the computational capacity of computers to radically transform iconic moments in works of classical Hollywood cinema. In this piece, the “Over the Rainbow” sequence from The Wizard of Oz moves forward from the beginning and backwards from the end in half second intercuts. The frame is gradually divided into 25 screens in which each iteration of Judy Garland’s voice emanates from a different frame, each slightly out of synch with the next. This results in a mesmerizing, kaleidoscopic matrix of image and sound.
The Game (Tasman Richardson, 2007)
Tasman Richardson’s The Game sends the viewer hurtling through a world in which remote control warfare, videogame fantasies, and horror films blend into a throbbing, rhythmic dance. While the images and sounds are superimposed upon one another, each segment is otherwise unaltered so that the rhythm and melody are established exclusively through the editing.
Outlaw (Ann Steuernagel, 2008)
Through radical editing and layering of footage from 16mm cowboy films, Ann Steuernagel’s Outlaw defamiliarizes the iconic tropes – visual and auditory – of the traditional Western. Ghostly “solarized” images of horses, cowboys, and train tracks, which advance in slow motion, are haunted by the sounds of horses hooves, train engines and train whistles as the landscape of the Western melts into abstraction.
TB TX Dance (Roger Beebe, 2006)
In Roger Beebe’s TB TX Dance, the background of the image, made of patterns of dots directly laser printed on clear leader, doubles as an optical soundtrack in which the different pitches are created by the density of the dots. Toni Basil, who danced in Bruce Conner’s Breakaway in 1966, repeats her dance within this abstract and frenetic world.
windshield baby gameboy movie (Clint Enns, 2009)
Images of a car crash are digitally abstracted through the interface of a Nintendo Gameboy Camera. As images of real violence are pixelated almost beyond recognition, Clint Enns’ film gestures towards the de-realizing and potentially dehumanizing aspect of video game images.
Flicker On Off (Caroline Koebel, 2008)
A trilogy in which images from big budget movies are reinterpreted through an experimental lens and repurposed to speak about world affairs. In Part I: Repeat Photography and the Albedo Effect (8:12), footage from Raging Bull is optically reprinted, solarized, fragmented and combined with a news commentary about the retreat of Mingyong Glacier, drawing parallels between human violence upon one another and upon the Earth. In Part II: Sunroof (Benazir Bhutto Assassination) (6:10), footage from gangster films is edited together with fragments of news footage and reports on former Pakistani Prime Minister Benazir Bhutto’s assassination. Part III: All the House (Haditha Massacre) (5:50) reedits an interview with a little girl who survived the Haditha Massacre, in which US Marines killed 24 unarmed Iraqi civilians, framing her story with sounds and images of senseless and continuous death. Together, these segments add up to a meditation on acts of violence with consequences that cannot be undone.
The Legend of Pwdre Sêr (Dave Griffiths, 2008)
According to folklore, “pwdre sêr,” which is Welsh for “star-rot,” is a gelatinous substance deposited on Earth during meteor showers. In Dave Griffith’s The Legend of Pwdre Sêr, fragments of film marked by movie cue-dots are cut together and overlaid with a voiceover explaining the legend. These cue marks, originally intended to tell the projectionist to switch film reels, are transformed into “characters” and beautiful images in their own right. This video was produced for “The Golden Record” exhibition, a contemporary version of the phonograph record included by Carl Sagan in the two Voyager spacecraft in 1977.
Speechless (Scott Stark, 2008)
In 1976, two medical professionals published a textbook called The Clitoris, which was accompanied by a set of Viewmaster 3D reels. In Scott Stark’s Speechless, these 3D photographs of human vulvae are interwoven with surfaces and textures from natural and human-made environments. The flickering effect seems to animate these images and instills in them a power and presence that transcends the way female genitalia are normally portrayed, whether crudely sexualized in modern porn, or subjected to the sterile scrutiny of the physician’s gaze.
Her Heart is Washed in Water and Then Weighed (Sasha Waters Freyer, 2006)
Sasha Waters Freyer’s Her Heart is Washed in Water and Then Weighed meditates on motherhood and mortality and the relationship between the two. Poignant and painful stories told from multiple mothers’ perspectives are interspersed with images of home, children, and family – as well as a human body being dissected. The film takes its title from a procedure in the autopsying of a human corpse but suggests also the struggle for human beings to value and to be valued by one another.
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