Festival of (In)appropriation DVD #2 includes:
Asleep at the Wheel (Mike Maryniuk, 2005)
By punching holes into a found filmstrip and hand processing his own images, Mike Maryniuk tosses the viewer headlong into a hallucinatory road-trip. Images of highways stretching ever forward are populated by figures and faces that appear only briefly, like a landscape flashing by.
Alone (Gerard Freixes Ribera, 2008)
Taking the glorification of the “lone” hero’s individualism to its logical extreme, Gerard Freixes Ribera deletes everyone – from sidekick to villain – from the film except the Lone Ranger himself. Without the other characters to round out the narrative, our hero is left talking to himself and fending off invisible demons in a melancholy, empty world.
The Animated Heavy-Metal Parking Lot (Leslie Supnet, 2008)
In this animated tribute to Jeff Krulik and John Heyn’s 1986 video documentary classic Heavy Metal Parking Lot, Leslie Supnet reconstructs her favorite scenes using cut-out characters made out of aged paper, glue, and ink. The “found” sound provides the template against which the animation is formed.
Friend Film (Colin Barton, 2008)
In what Colin Barton describes as a “eulogy to lost friends,” 35mm originals are hand-painted, optically reprinted, and then reworked with a little help from an electric toothbrush and a washing machine. Faces, eyes, and a variety of recognizable symbols emerge from a morass of lines and colors, accompanied by a grating, immersive soundtrack. River Phoenix, who died at the age of 23 from a drug-induced heart attack, appears periodically throughout the film, perpetually separated from us by a barrier of distressed celluloid.
The Ship (Brandon Downing, 2009)
Bringing together images of a deep sea diver with images from Hollywood B-movies of the 60s, 70s and 80s and a song called “Duniya Mohabbat Karne Na Degi” from the Indian film Jaan Pechaan (1952), Downing subtitles the Hindi lyrics to approximate their phonetic (rather than semantic) English equivalent, thereby imputing (unintended) sexual connotations to both the song and the accompanying images. This subtitling makes a humorous commentary on the materiality and fundamental non-referentiality of all language and on our (problematic) tendency to rely on subtitles for “information” about the image.
Emergence (Marcin Blajecki, 2009)
By tracing over the images of a 1953 McGraw-Hill film called Physical Aspects of Puberty, Marcin Blajecki creates an animated music video that emphasizes the way in which educational films transform the human body into a system that can be explained and deconstructed. While gesturing towards the simple beauty of such films, Emergence also reminds us of all that cannot be accounted for by lines and diagrams.
That’s Right! (Matthew Causey, 2008)
In this playful compilation of cartoon imagery, Matthew Causey seeks out one kind of (simulated) camera movement and draws our eyes in a never-ending movement toward what is just to the right of the frame.
Anemic Cinema with Z Coordinate (Jorge Sa)
Jorge Sa’s tribute to Marcel Duchamp’s experimental film, Anemic Cinema, uses 3D software to extrapolate 3D images from Duchamp’s footage, adding depth to a film that originally emphasized flatness.
The Motions of Bodies (Ann Steuernagel, 2008)
Inspired by Galileo’s experiments with gravity, Ann Steuernagel’s The Motions of Bodies combines many found images of people and objects falling or flying through space, which are repeated so as to create dizzying patterns of motion. This kinetic frenzy is further emphasized through the soundtrack, which evokes the milieu of the circus, a space fundamentally structured around the spectacle of bodies in motion.
Isolating Landscapes (Heidi Phillips, 2007)
A first exploration of narrative, Isolating Landscapes hints at relationship woes by mixing both spare and lush handcrafted imagery with confessional text. Beautifully minimal scenes give way to denser moments, as when an ice-sculpture of an anatomical heart is hung, lantern-like, over a darkening street.
The Last Interview in Exile (McLean Fahnestock, 2008)
In January 1980, journalist David Frost conducted a final interview with the exiled Shah of Iran in Panama. By drawing out a single exchange of question and answer to over a minute, McLean Fahnestock defamiliarizes the format of the “official” interview in to a disturbing, funny, and yet strangely poignant interaction.
Profanations (Oriol Sanchez, 2008)
Oriol Sanchez’s Profanations is a three-channel video work consisting of the appropriation and reconstruction of images and sequences of films by Marey, Pudovkin, Kirsanoff, Eisenstein, Romero, Halperin, and Kuleshov, among others. Through spatial and temporal juxtapositions, Profanantions disarticulates the narratives of the appropriated images so that a series of new micro-stories emerge, organized around Campanas de Luz (Light Bells), a music composition by Joan Riera Robuste.
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