CANYON CINEMA USA MExindex LIGHT CONE FRANCE
Calculating the angle of awe at a gas station in rural Midwest.
SHORED AGAINST A RUIN
A body of water, the body of the sky and figures on ground, shored against one another in rhythms of waves abrading a field framed for a new anxiety.
One continuous take showing microfilm model airplanes and their minders.
A duet of film and video. The film image is unraveled and reassembled, filtered through video capture electronics. Hazy and melting slowly in a soft pink abstracts, but still recognizable, figures in landscapes emerge and pass through like ghosts.
creating a materia auto-poem from the running of loupe and camera lens over old desiccated microscope slides. Adding remedies of yore for common ailments.
Our eyes are armed, but we are strangers to the stars
A composition of scenes and sounds in a montage reflecting poetic and musical forms. The camera, a toy, records only in black with a crude plastic lens which softens and distorts pictorial detail, creating ample room for the mind’s eye to roam and query, or not, the nature of image, meaning and attachment.
LINE OF APSIDES
Line of Apsides (excerpt). 16mm, silent, 12 mins 2014. Filmed at the Film Farm, Ontario in 2006 and added to over time. Objects, animate and inert, were examined through viewfinder and under a microscope and goats were interviewed daily. Thoughts coaxed into light in about the order they were encountered. 16mm b&w & color…
(2014) 16mm finished in digital video, 8 mins
CYAN is assembled from numerous 16mm film workshops. Some of the footage is found, most is made, much of it filmed by participants themselves. Accumulated between 2004 and 2014.
End Reel DV Sound 7 mins 2014
END REEL convolves certain aberrations in two image-making technologies; film and video, to produce a complex and largely abstract image without detaching entirely from the narrative contained in the reel. The final minutes of a 35mm Hong Kong action film examined over a light-box on an editing bench with hand-crank rewinds and recorded with a lo-res pocket camera shows fuzzed out fight scenes in an epic triumph of good over evil but lingers just as often on the scars and water damage blooms in the film emulsion itself. Sounds move between sync (creaky rewinds + scraping reels) and added recordings. The decay on the film surface, blur of its movement and arbitrary stop and starts on image frames, create unpredictable associations. The pulsing of the pocket camera’s AWB (automatic white-balance) and the native 60Hz pulsing pattern between the video and the light-box’s florescent bulb add to this, too. These spontaneous textures of unfolding process, like human imprints in sand, form the heart of this moving image work. -JM
Frequency Objects is in two parts. The first combines negatives from family photographs, photograms and found fragments of 35mm movie film, in a montage that finds friction between the animation and smooth motion of movie images.
Through imprecise stops and starts one catches sight of image fragments; figures half in and half out of the frame, faces suddenly happened upon. In the second part, the pattern is of a fabric and various photogrammed objects produce to-scale shadows of themselves.
Above: Astronomer’s Dream; Director’s Cut.
This is the first cut of early material shot for the “Astronomer” interlude in Braden King’s feature film, HERE (2012). An edited version of the above occurs after Will’s monologue to Gadarine in Meghri (they get a bit drunk and he falls asleep, starts dreaming, maybe).
It is both expansive and pointed and intentionally loose – allowing its own edit and the rhythm of the speaking voice to be percussive point/counterpoint to the abstracted imagery which combines infinite views of the night sky with microscopic views of natural structures such as insects and leaves. These views are double-exposed on a single strand of film producing uncertain results in the process. This edit – presented here in silent original form was submitted to the director and was further edited for the final release. It was also reformatted to 16:9 aspect ratio with cropping ocuring top and bottom of the image.
About the feature: HERE by director Braden King
“Summary / Logline Measurement and orientation break down in a dramatic, landscape-obsessed road movie that chronicles a brief but intense romantic relationship between an American satellite-mapping engineer and an expatriate Armenian photographer who impulsively decide to travel together into uncharted territory – both literally and metaphorically
HERE contains a series of brief interludes: fictional tales of mythical explorers who map the land in fantastic ways. One imagines the land to be a vast sea and designs ships that might sail upon it. Another devises a navigational method using the clouds instead of the stars. A third creates maps that are actual-size. And so on.
These interludes are the story’s dreams.
They have been illustrated in collaboration with a number of avant-garde filmmakers – explorers themselves – who were sent to a series of extraordinary landscapes around the world to “map” them, using their own idiosyncratic methods. HERE’s explorers included Paul Clipson, Barbara Meter, Julie Murray, Ben Rivers, Daichi Saito, and Gariné Torossian. The Storyteller’s voice belongs to Peter Coyote. Bill Morrison, Naomi Uman, Guy Sherman and Peter Mettler also collaborated at various points along the way and on other platforms of the project, beyond the feature film..”
DISTANCE 16mm, sound, 12 mins, 2010
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations”
ELEMENTs 16mm sound 7.5 mins 2008
A few incidental moving figures related to one another by the rhythm of the snowy fog-bound woods, the movement of the moon and the hesitancy of the clouds.
When the trees were enchanted,
In the expectation of not being trees,
The trees uttered their voices
From strings of harmony,
The disputes ceased.
Let us cut short heavy days,
A female restrained the din.
She came forth altogether lovely.
The head of the line, the head was a female.
-excerpt: “Cad Goddeu” (The Battle of the Trees) from the 6th-Century Welsh Book of Taliesin.