Festival of (In)appropriation DVD #3 includes:
Five-Dimensional Vacation 2 (Ryan Lamb, 2010)
One in a series of videos exploring issues of time through visual representation. This video appropriates amateur 8mm film footage depicting a 1960’s family vacation, which Lamb found on the Web, and manipulates the image so that each moment seems to visually “echo” until it fades into the next image.
Voice on the Line (Kelly Sears, 2009)
Kelly Sears’ collage animation was made from figures cut out of late 1950s ephemeral films. The film repurposes these images to narrate the story of a secret government operation involving telephone operators tasked with monitoring the personal lives of US citizens. While it dabbles with absurdity, Voice on the Line nevertheless reflects on current and troubled relationships between the areas of national security, civil liberties and telephone companies, pointing toward the ways in which technology can be used to shape our fears and desires.
Nuke Em, Duke (LJ Frezza, 2010)
The production of the film titled The Conqueror, starring John Wayne as Genghis Khan, took place downwind from a nuclear testing site, and close to half the cast and crew developed cancer, including “the Duke” himself. Drawing from this as well as other John Wayne films and footage from current wars in the Middle East, LJ Frezza’s Nuke Em, Duke examines “conquest” as it appears in past and present media, both fiction and non-fiction. Literalizing the media’s “compression” of these experiences into mediated forms ready for consumption, the film emphasizes the continuities between “conquest” in the analog and digital eras.
Suspension of Belief (Wago Kreider, 2010)
By alternating rapidly between the sound and images from Tarnished Angels (Douglas Sirk, 1958) and Dr. Strangelove (Stanley Kubrick, 1964), Wago Kreider’s Suspension of Belief produces a dizzying effect while emphasizing the ways in which aerial technologies are fundamentally linked to the desire to dominate the landscape.
Pfft.. Pfft.. Pfft.. (Catherine Ross, 2009)
Appropriating snippets of footage from American popular movies of the last two decades, Catherine Ross’s Pfft..Pfft..Pfft.. is a sequence of impossible pairings of sound and image that nevertheless almost “fit.” The improvised vocal effects by Adam Matta focus the viewer on the connection between the human and the mechanical as well as the magic in our everyday actions.
World on Wheels (Tanja M. Laden, 2008)
Tanja M. Laden’s World on Wheels combines vintage animation from the Prelinger archives and music from the Cylinder Preservation and Digitization Project at UCSB to produce an image of the world structured entirely by the roads and other transportation technologies that keep human beings in perpetual motion.
A Movie by Jen Proctor (Jennifer Proctor, 2010)
Using online video culled from YouTube and LiveLeak, Jennifer Proctor creates a (nearly) shot-for-shot remake of Bruce Conner’s epic 1958 film A Movie. By closely following the template provided by Conner’s film, Proctor’s video offers a parallel set of images that reveals the changes in historical and visual icons from 1958 to 2010. Yet, even as these differences emerge, we become simultaneously aware of all that remains surprisingly, disturbingly, and delightfully the same.
Blow Job (Stuart Sandford, 2009)
This tongue-in-cheek homage to Warhol’s film of the same name features a brief, repeated clip of teen heartthrob Zack Morris (Mark-Paul Gosselaar’s character on Saved by the Bell), which suggests that he is on the receiving end of some sort of off-camera pleasuring. Although this film is potentially very funny, by sexualizing this originally G-rated footage of a teenager, Stuart Sandford’s film also puts the viewer in a precarious ethical position.
Galactic Docking Company (Clark Nikolai, 2009)
In footage that will be familiar to many viewers, NASA technicians and administrators watch their screens in order to monitor the launch of a space shuttle. However, in Clark Nikolai’s version, what their eyes follow with such eagerness is not only a space shuttle, but also a range of penises and penetrations. By inserting these images into the NASA footage, Nikolai’s film both sexualizes and queers this footage, rendering it “inappropriate” in relation to both the sober discourse of science and progress and heterosexual social norms.
Thoughts (Julian Krubasik, 2008)
By adding a contemplative first-person voiceover to a reedited version of Jean-Luc Godard’s 2 or 3 Things I Know about Her, Julian Krubasik transforms Godard’s imagery into a meditation on missed opportunities.
The Western Front (Lauren Cook, 2010)
Three different narrators tell stories of senseless violence and cruelty, both political and personal, which are ultimately one in the same. By juxtaposing hand-painted images from nature films, science films, and ethnographic films with Lauren Cook’s own footage, the film examines the events we choose to remember and forget in order to be able to live our lives – and the continued violence inherent in the act of forgetting.
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