Man Ray Film Screening
Thursday, September 16, 2010 | 8pm | $5
In collaboration with The University of Virginia Art Museum’s “Man Ray: African Art & the Modernist Lens” exhibition, The Bridge Film Series proposes an evening of 16mm films focusing not only Man Ray’s enduring legacy in experimental film but also on contemporary experimental filmmakers’ use of Africa as a means of reflecting on the spatial and temporal experiences of late modernity.
directed by Chick Strand
1976 | 25 minutes | color
Strand describes the autobiographical Elasticity as “Impressionistic surrealism in three acts. The approach is literary experimental with optical effects. There are three mental states that are interesting: amnesia, euphoria and ecstasy. Amnesia is not knowing who you are and wanting desperately to know. I call this the White Night. Euphoria is not knowing who you are and not caring. This is the Dream of Meditation. Ecstasy is knowing exactly who you are and still not caring. I call this the Memory of the Future.” — Chick Strand
directed by Scott Bartlett
1972 | 15 minutes | color
Filmmaker Scott Bartlett’s lyrical documentary of Morocco combines the rich, poetical patterns of the walls, steps and tiles, the dense calligraphic decoration, the shaded windows and veiled eyes of the city with appropriate musical score. The New York Times wrote, “It is as if all the impulse toward lyrical pattern in Bartlett’s film work had found an objective correlative in the walls, the steps and tiles, the dense calligraphic decoration, the shaded windows and veiled eyes of the city.” In his study of 1960s American experimental cinema The Exploding Eye, Wheeler Winston Dixon wrote “[Scott Bartlett's films] exemplified San Francisco’s preferred form of cinematic discourse for a later generation of artists, poets, writers and videomakers…The visual structures of Bartlett’s films influenced the images we see on MTV today, as well as the digital special effects employed in many contemporary feature films.”
directed by Pat O’Neill
1965-67 | 11 minutes | color
Machine-like imagery in color or black and white gradually merges into abstracted forms of the human anatomy. Described ias “A bilaterally symmetrical (west to east) fusion of human, biomorphic and mechanical shapes in motion. Has to do with the spontaneous generation of electrical energy. A fairly rare (ten years ago) demonstration of the Sabattier effect in motion. Numbered after the film stock of the same name.” Music by Joseph Byrd and Michael Moore.
directed by Mark Lapore
1989 | 16 minutes | color
Memory, as well as the residue of information in text and film from Sudan, led me to make The Sleepers in order to resolve the impression that the third world is present in the first world as an idea and a condition. The Sleepers is a film about how notions of culture are often defined by information received indirectly – information that frequently violates the particulars of people and place and makes questionable one’s ability to portray specific individuals as representatives of culture. The Sleepers concludes with a description of an African girl cleaning up after a meal being read over the image of a red storefront in New York’s Chinatown. Time and space contradict, then collapse to suggest a new third world city; a city of the imagination, where rural Sudan, China and Manhattan exist simultaneously.