Fragments of Seeing
Recovering the Los Angeles avant-garde: Restorations from the Academy Film Archive. Two programmes of restored films from 1966-1982, curated by Mark Toscano.
Long ignored in the traditional histories of avant-garde film, Los Angeles has been a major artistic center of cinematic experimentation nearly since the birth of the industry. With the 2005 publication of David James’ seminal The Most Typical Avant-Garde, a complex and influential history began to be unearthed.
These two programmes, curated by Mark Toscano of the Academy Film Archive in Los Angeles, will reveal some of the extensive range and unique energy of this L.A. experimental work, with a particular focus on the incredibly productive period of 1966-1982. All films will show in restored prints from the Academy, in their original 16mm format, unless otherwise noted.
In dit verzamelprogramma
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Eclipse Predictions
Diana Wilson’s beautiful animated tableaux reach their zenith in this film, creating a moving visual catharsis for a childhood tragedy. -
Throbs
Fred Worden’s earliest extant film is a moving, celebratory collage of epiphanous moments constructed on an optical printer with an unusual grace and -
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This dense and haunting 3-minute epic, rediscovered to great curiosity and acclaim, is the only film completed and released by Bruce Lane. -
Bertha’s Children
Five middle-aged siblings and their simple behaviours and declarations are intensely ordered and analyzed, rendering a powerfully unusual family film -
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The Divine Miracle
Hyper-stylized imagery of Christ is composited with powerfully weird optical printing work, in this classic vision which took two solid years to produ -
Evolution of the Red Star
courtesy of The iotaCenterThis early Adam Beckett film is a hyper-dense drawn animation looped and expanded via his visionary optical printing. Origin -
Venice Pier
A breathtaking and achingly humble film in which a year’s worth of non-chronological imagery shot down the entire length of Venice Pier is presented, -
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A documentary revolutionary in its unconventionality, which, as a result, captures more about its subject (rock ‘n roll), and more vividly and emotion -
Death of the Gorilla
Peter Mays achieved these hypnotically dense and hallucinatory in-camera super-impositions shooting off the TV with colour filters, then edited the ma
