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Editorial Reviews. About the Author. Yosay Briels is a new author to enter the historical novel The Dutch Artist and His Muse: Inspired by true events in the life of the artist Jan Sirks - Kindle edition by Yosay Briels. Download it once and read it.
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Suffused with a love of image, melodrama and the teachings of Sirk and Hitchcock, the films of Warren Sonbert are wonderful records of his vibrant surroundings in New York and San Francisco and his travels abroad. Gorgeously shot and meticulously edited, his films serve as an important touchstone for the possibilities of personal filmmaking. Early Monthly Segments is pleased to be able to host a retrospective of his films organized by Jon Gartenberg and imported from Light Cone in Paris.
A rare chance to see the complete body of work of a stunning filmmaker. Download extensive PDF version here. Queer Identity Thursday, November 15 — pm Of the many creative and cultural universes inhabited by Sonbert, none was perhaps more acutely experienced yet least publicly acknowledged than his homosexual identity and affliction with AIDS.
The program continues with Noblesse Oblige , a masterfully edited work that features imagery Sonbert photographed of protests in San Francisco following the murders of Mayor George Moscone and Councilman Harvey Milk at the hands of Dan White. Noblesse Oblige , , color, silent, 25 min. Whiplash , Completed posthumously in Restoration editor: Jeff Scher, , color, sound, 20 min.
Sonbert expressed this theme not only between his protagonists onscreen, but also in the relationship between his ever-roving hand-held camera and the human subjects within his field of vision. Each camera roll sequence captures an individual couple in unusually intimate, quotidian moments: eating, making love, dancing, and whiling away the time. Beginning in , Sonbert abandoned his earlier filmmaking style, which had brought him such notoriety in the public press while he was still a teenager.
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He began using his hand-held Bolex camera to enlarge his field of vision beyond New York, recording footage as he traveled around the world. Films: The Bad and the Beautiful, , color, sound, 34 min. Tuxedo Theatre , , color, silent, 21 min. Films: Divided Loyalties , , color, silent, 22 min. Honor and Obey , , color, silent, 21 min. The Travel Diary Friday, November 16, 8pm In Carriage Trade , Sonbert interweaves footage taken from his journeys throughout Europe, Africa, Asian and the United States, together with shots he removed from the camera originals of a number of his earlier films.
Carriage Trade was an evolving work-in-progress, and this minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. His earliest films, in which he captured the spirit of his generation, were inspired first by the university milieu and then by the denizens of the Warhol art world.
Hall of Mirrors , , color, sound, 7 min. The Tenth Legion , , color, sound, 30 min.
The Dutch Artist and His Muse by Yosay Briels
Set against this lush panorama, Sonbert subverts the expectation of classic cinematography with a liberal sprinkling of avant-garde techniques. Sonbert was also a professional music critic. In Friendly Witness , he returned, after 20 years of making films, to incorporating music tracks back into his movies.
In doing so, he select. Fanderl is an incredibly prolific film artist whose mostly in camera-edited works are beautifully poetic ruminiations on the quotidian; she is currently in Toronto as artist-in-residence at LIFT. To and fro as it were. German-born filmmaker Helga Fanderl has been making Super-8 films since the mid s. Silent, short, and edited in-camera, her films reflect the lightness and spontaneity of the small-gauge medium and camera.
Helga is also offering a workshop at LIFT during her residency! He moved to Paris in and from to began to realise an extensive number of personal films, all shot in Super-8, some on travels to Morocco, Denmark and London, others in his adopted hometown, Paris. The vibration of the image, my convulsive rhythm is an amplified and intensified sexual act.
Nov AGO. It is unlike any film that I have ever seen. Unidentified voices sometimes reinforce, sometimes counter her visual chronicle — itself containing so many contradictions amid the grief and gunfire. Painfully present, Promised Lands reverberates like the bells in the opening shots or the recurring heart monitor sound flat-lining and coming to life again … ominous yet hopeful, always a lament. The two assassins spend the night in a hotel after a first failed attempt, gathering the strength to finish what they started by reminiscing on their years during the resistance and all those they have lost in the battles.
With its stunning deep-focus shots and rich black and white photography, Ashes and Diamonds is a standout of Polish filmmaking. Marie Menken holds a special place in the film pantheon as one of the earliest practitioners of personal filmmaking and her embodied camerawork was an influence on many filmmakers, from Stan Brakhage to Ute Aurand. In the same trip to Spain with Kenneth Anger in where she filmed the exquisite Arabesque for Kenneth Anger , Menken spent time with a group of monks devoted to burying the dead. Adams Sitney and the unedited Kodachrome camera rolls are gorgeous documents of her camera eye and the unique rituals of the monks that live in the sun-parched cave-village of Guadix.
The Four Seasons , , which features the two filmmakers frolicking through the four seasons in Berlin, Moscow, Paris and London. Inspired by a Jonas Mekas quote on the intuitive power of improvisation that opens the film, the two filmmakers trade the camera back and forth, filming each other at play. Aurand runs around in the Berlin snow in a white dress and boots and swings a young boy around and around in Red Square before Aurand and Pfeiffer both dance in a Paris fountain and then dress up as angels in the London twilight.
The music of Orff, Prokofiev, Piaf and Deller alongside the youthful spontaneity of the two filmmakers creates an exuberant ode to the changing of the seasons, the exhilaration of travel and the act of creation. Programme: OH! His work looks at the relationship between the camera and the elements being filmed—object, reflection, colour, light, shadow—resulting in a rigorous reflection on the act of filming itself. The films have a hard-won beauty, but open themselves up to our appreciation through patient observation.
The film was shot in two adjacent rooms. Outside views are seen in reflection via an aluminum photographic lamp, while some of the imagery is generated from photographs taken in the same spaces. The occasional voice over explores the relationship between places and dreams and that between memories and the physical events that can trigger them.
White Light , made a few years after the short film Minutiae initiated a stylistic epiphany, also focuses on reflections—this time in the chrome-plated faucets of his studio sink. The faucets are shot frame-by-frame while the focus is racked back and forth, creating a shimmering rhythmic experience.
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These animations deepen the enquiry into the abstract and the photographic and into the way that illusions create visual forms. Tobacco Shed is shot at a tobacco-curing oven in northwest Umbria, Italy. It uses the serial nature of the building a series of open bays to construct the film—circling the building and framing each doorway in a consistent manner. This simple set-up allows for the small differences an open doorway, a car parked askew and character of the building—soon to be transformed due to changing agricultural priorities—to come through.
White Light , , 16mm, UK, 22 min. A model for the deconstruction of the Hollywood film, Thriller turns the conventional role of women as romantic victims in fiction on its head.
Mimi, the seamstress heroine of the opera who must die before the curtain goes down, decides to investigate the reasons for her death. As the camera remains fixed in its gaze at the impending gush of the Old Faithful geyser, voices off-screen express impatience, expectation, uncertainty and awe at the power of nature unleased before them. Ruth Noack is a curator and writer living in Vienna. She studied feminist theory, art and audiovisual media in England and the USA and received a degree in art history from the University of Vienna.
Noack has worked as a translator, art critic, exhibition organizer and university lecturer.
She held the position of president of the Austrian section of the International Association of Art Critics and was a member of the jury for the Chinese Contemporary Art Award in addition to curating documenta 12, working alongside Roger Buergel. She employs an interdisciplinary approach to her work that makes use of principles of film theory and has focused on issues of governmentality, globalization, and exhibition-making.
Currently, she is working on an exhibition called Sleeping with a Vengeance, Dreaming of a Life.
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More info here. Before it Blows, Patricia Gruben, , 35mm, Canada 9 min. Thriller , Sally Potter, , 16mm, UK, 34 min. Tonight brings us full-circle, if you will. Tree Dance documents an early performance inspired by spring fertility rituals, with Matta-Clark moving through a series of cocoons, ladders and ropes hung throughout a very large tree in Poughkeepsie, New York.
Seeing these films again reminds us of the milieu of which Matta-Clark was a part—one is reminded of Bas Jan Ader, Anthony McCall and John Chamberlain, to name just a few—but also of the fervent influence his work still can have on our conceptions of the built landscape in which we live.
This month we pair films by Barbara Hammer and Kurt Kren to draw out some fascinating similarities from both their works. Barbara Hammer, the lesbian filmmaker known for her radical and poetic films on lesbian identity and Kurt Kren, best known for documenting in a uniquely structural way the early performances of the Viennese Aktionist movement, may never have shared a stage, but their extensive catalogues share an obsession with interests beyond the radical body.
Sanctus takes early x-rays shot by Dr. James Sibley Watson and optically prints them into a remarkable film about the way our bodies are imaged in relationship to medicine and disease. Bent Time explores the fourth dimension, time, in her wondrous trip across the continental United States, stopping at ancient places like Chaco Canyon and more recent sites such as the Stanford Linear Accelerator. Driven by a Pauline Oliveros score, the film maps the energy of time and history in an exciting play of light, movement and sound.
Once the images are brought up to full colour, Print Generation heads back toward abstraction. Print Generation by J. Murphy is a rarely screened structural gem that harnesses image and sound deterioration to its fullest. Murphy started with sixty one second shots, a one minute film. Print Generation is structured so we begin watching obscured images and work toward the original and back again… while the soundtrack of lapping ocean waves does the opposite.
Spoiler alert? Well, not exactly, as with all films, structural and otherwise, the magic of the experience is also in the sharing… so we hope you will join us for this special screening alongside the launch of PUBLIC issue 44 on the Experimental Media Congress, edited by Peggy Gale. Sneak peak of the issue here. Recently restored archival print courtesy the Academy Film Archive. Chambers layers these fragments, bi-packing positive and negative black and white film together, lending a ghostly quality to the city and its inhabitants, including the ill-fated eponymous hart.