Traveling Show

Festival #5, Festival #6 and Festival #7 are each available for traveling screenings!

For a $250.00 programming fee, we will send you one entire show as a computer file on a hard drive along with program notes and publicity images. (You then return the drive to us.)

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Festival #5 includes:


Curated by Jaimie Baron,  Lauren Berliner,  and Greg Cohen. Sponsored by Los Angeles Filmforum.

Cropduster Octet by Gregg Biermann (US,  HD video,  5:30m,  2011)

In Crop Duster Octet, the iconic “crop duster” sequence from Hitchcock’s North by Northwest in which Cary Grant is repeatedly attacked by a small airplane swooping from the sky is deconstructed into eight horizontal bands,  each of which is slightly out of synch with the next.  As the scene (and,  in particular,  Grant’s body)  is continuously deconstructed, the patterns of action are refigured and intensified,  culminating in a crescendo of convergence.

Saskatchewan by Richard Wiebe (US,  16mm on DV,  16m,  2012)

Using 16mm footage and Edison Voicewriter recordings created by family members many years before, filmmaker Richard Wiebe – whose family came from Saskatchewan but who grew up in North Carolina – paints a portrait of rural culture in the plains of Canada in the 1940s. Wiebe’s father, grandparents,  aunt,  uncle and others now gone populate,  along with trains and cattle,  the stark but beautiful landscape.

I For NDN by Clint Enns and Darryl Nepinak (Canada,  video,  1:34m,  2011)

In this short,  humorous piece that comments on the implicit assumptions embedded in our most basic education,  Clint Enns and Darryl Nepinak appropriate footage from an educational program designed to teach children their vowels – and an unsuspecting character finds himself serving as an example.

Scarlet by Sharon A. Mooney (US,  video,  4:44m,  2012)

Audio samples culled from Jane Fonda films from the 1960s and '70s are woven together over lenticular images of sexpot aliens,  which are physically titled to transform one image to the other.  The meditative soundtrack combined with snippets of dialogue generates a hypnotic atmosphere in which the strange visual transformations seem to reflect our distorted perceptions of ourselves.

Cat Scannd by Michael Guccione (US,  video,  3:27m,  2010)

Guccione became interested in how a TV image is built, namely the NTSC standard,  a series of scanned lines on alternating fields of 262  ½ lines resulting in a composite of 525 lines of picture signal.  He wanted to slow down what took place in nanoseconds to a perceivable movie experience without having to be literal, and he came across one of the first televised images scanned mechanically during the late '20s by RCA which was cartoon character Felix the Cat made up of just 60 lines. The early experimenters placed a 13”  paper mache effigy of Felix on a turntable and aimed the camera point blank at their smiling model as they toiled at making television a viable visual medium.  Emerging from this background is an animated piece interfacing homemade constructions of the 1959 Felix cartoons with a layman's take on television’s scanned lines and added pinches of Hans Richter,  Paul Hindemith,  Tor Johnson and others.

Night Hunter by Stacey Steers (US,  35mm on HD video,  15:30m,  2010)

Meticulously crafted from approximately 4000 handmade collages and incorporating images of Lillian Gish taken from silent-era live-action cinema,  Night Hunter evokes a disquieting dreamscape drawn from allegory,  myth,  and archetypes.  Images from four silent-era films featuring the actress Lillian Gish are combined with 18th and 19th century engravings to create rich,  timeless,  imaginative environments.  Transitions,  both biological and metaphorical,  are central themes.  In some instances Gish is cut out of specific scenes and reconfigured in collage environments,  while collage materials are applied directly to printed film frames in others.  The subsequent fluidity of character becomes a critical element in the texture of the film and the identity of the principal character.  Night Hunter was shot on an Oxberry animation stand in 35mm using a Mitchell camera.  Music and sound by Larry Polansky.

Machine Language by Robert Todd (US,  video,  5:30m,  2012)

In Part 3 of Robert Todd’s "Future Perfect" series,  which highlights the digital grammar of Star Wars Episodes 1-3,  robots speak to one another in series of blips and beeps that – isolated from their narrative contexts and human dialogue – become a mysterious poetry that suggests communication but also refuses to cohere into comprehension.

La Salle Hotel by Scott Fitzpatrick (Canada,  35mm on video,  2m,  2011)

An abstracted depiction of the 1946 fire at the La Salle Hotel in Chicago,  Illinois,  where even the frame itself threatens to collapse.  Archival footage is broken down digitally, colourized, and laser-printed directly onto 35mm film.

Revving Motors, Spinning Wheels (Action Painting) by Jeremy Rotsztain (US,  video,  4:05m,  2011)

Revving Motors, Spinning Wheels (Action Painting) is an animated digital painting composed using cinematic gestures from Hollywood action films. High-octane moments from car chases — humming motors, screeching turns, and crashes — are digitally extracted and transformed into colorful abstract expressionist gestures in the tradition of Jackson Pollock.  The Action Painting series brings together the adrenalin-filled culture of action cinema and the formalist canon of modernist painting;  it follows the recent cultural trend of aestheticizing violence and pushes it to an exaggerated level.

Forsaken by Heidi Phillips (Canada,  16mm,  4:30m,  2012)

In Forsaken,  Phillips abstracts images selected from found footage using contact printing, hand tinting, and toning.  Muscle men,  machinery,  and building climbers become foreboding figures in this darkly apocalyptic film.

Youtopia by Danial Nord (US,  video,  2:29m,  2011)

Danial Nord continues his indictment of contemporary culture by manipulating the tools of mass communication.  In his digital video Youtopia,  the artist captures hyperlinked reality to poke fun at the curatorial process in the age of misinformation.  After receiving an email with a link to the New York Times article titled:  "Guggenheim and YouTube Seek Budding Video Artists,"  Nord created virtual assistants to investigate.  Their automated inquiries,  skewed by database hierarchies and software glitches,  produce convoluted associations and misguided conclusions.  The search results,  texts,  and screen-grabs are ‘real',  but the electronic helpers have ulterior motives,  blurring boundaries between artificial intelligence and the human psyche.  Youtopia highlights the general state of affairs in our quick-to-click culture.

Ghost of Yesterday by Tony Gault (US,  video,  5:30m,  2012)

This collage of rotoscoped home movies is inspired by childhood memories of religion and altered consciousness.  The film explores our collective abandonment of analog imagery and is Gault’s personal attempt to reconcile with digital imagery.

Retrocognition by Eric Patrick (US,  video,  17:37m,  2012)

An animated collage of photographs and audio fragments from WWII era radio dramas critique the classic American televisual nuclear family.



Festival #6 includes:

Curated by Jaimie Baron,  Lauren Berliner,  and Greg Cohen. Sponsored by Los Angeles Filmforum.

Walking on Water by Celeste Fichter (US, 2012, 1:16)

The classic biblical story of Jesus’ walk across the Sea of Galilee is revisited in Walking on Water. Over 70 different depictions culled from the internet – ranging from coloring books to Medieval painting – animate the narrative of Jesus’ walk on the water to rescue his disciples from their boat during a storm and Peter’s attempt to follow suit only to sink before Jesus saves him from drowning. The epic tale, relayed in 60 seconds, is accompanied by the soundtrack to the 1970’s TV police drama Hawaii Five-O.

Research/Statement by Justin Lincoln (US, 2013, 3:37)

This video is inspired in part by structural filmmakers such as Hollis Frampton and Paul Sharits. It uses screen capture software, an archive of the filmmaker's tumblr favorites, a Processing program that randomizes text, and the browser scroll bar to make visual montages. Research/Statement explores how we learn to scan text and image online and how we become used to the recurrences and repetitions of those texts and images as data.

BLOOM by Scott Stark (US, 2012, 11:00)

Using images from the Texas Archive of the Moving Image, based on oil drilling footage from the first half of the 20th century, Bloom explores the industrial penetrations into the arid Texas landscape, which yield a strange and exotic flowering.

Looking for Jiro by Tina Takemoto (US, 2011, 5:50)

Looking for Jiro is a queer meditation on the incarceration of Japanese Americans during World War II. Jiro worked in the prison mess hall and liked muscular men. How did this dandy gay bachelor survive imprisonment? This queer musical mash-up video features drag king performance, U.S. propaganda footage, muscle building, and homoerotic bread making.

Passage by Cheryl Pagurek (Canada, 2007, 8:23)

Passage evokes several layers of time and place through video imagery and sound. Its ephemeral quality evokes the ‘present-ness’ of the disappearing past, referencing the artist’s familial history through archival film footage. Separate yet connected narratives unfold: Present-day video footage follows richly coloured light and shadow patterns appearing inside and outside Pagurek’s house throughout the course of the day, from the cool blue-purples of morning light to the warm oranges of early evening. Meanwhile, black and white archival film footage provides fleeting glimpses of Jewish life during the early part of the last century – everyday life in pre-World War II Eastern Europe, and the immigration of some to ghettoized urban life in North America.

The Rancher by Kelly Sears (US, 2012, 7:00)

The Rancher mirrors the presidency of Lyndon Baines Johnson without ever identifying him by name.  Instead, he becomes an archetypal backdrop to explore one man’s fall from power as a metaphor for other historical narratives.

Pledged by Celeste Fichter (US, 2012, 2:46)

Using audio extracted from YouTube videos of children reciting the Pledge of Allegiance and imagery sourced from the Internet, Pledged is a video about the dubious effectiveness of teaching the pledge to children too young to comprehend the concept of patriotism.

Magic Mirror Maze by Gregg Biermann (US, 2013, 5:10)

The famed “hall of mirrors” sequence of Welles’s classic noir, The Lady from Shanghai, is seen through a succession of four algorithmic progressions of split screen patterns. The result is hypnotic, kaleidoscopic, and a bit uncanny.

The Time that Remains by Soda_Jerk (Australia, 2012, 11:55)

In this spectral melodrama, Joan Crawford and Bette Davis perpetually wake to find themselves haunted by their own apparitions and terrorized by markers of time. Isolated in their own screen space, each woman must struggle to reclaim time from the gendered discourses of aging that mark her as fading and ‘past her prime’. The Time that Remains is the third work in Soda_Jerk’s Dark Matter series. Each work in the series takes the form of a séance fiction where encounters are staged between the past and future selves of a deceased screen star.

Arachne’s Thread by Emma Osbourn (UK, 2012, 4:30)

In the story of Arachne and Athena, Athena is the norm, the establishment, a code for propriety and order. Her textile depicts the Parthenon whilst Arachne’s subversive weaving depicts the misdeeds and weaknesses of the gods. This film is stitched with black thread by hand and by machine. Images of events in an anonymous young American woman’s life are juxtaposed with shots of sewing directly into the filmstrip. This disruptive and excessive sewing contrasts with conventional needlework that values tiny, neat stitching. The rebellious thread runs with abandon across the ordered feminine actions: Arachne’s misrule in Athena’s order.

Triptych B by Zoë Fothergill (Scotland/UK, 2013, 9:37)

Triptych B remixes a ten second clip of someone stroking a bee into three short interconnected films of found footage. It brings tactile experience, and how it is learned, taught and shared, to the fore, exploring how the screen can have a physicality that moves away from the delineation of objects, subjects and observers towards the luxury of experiencing surface, texture and touch. Triptych B’s three sections Be Touching, Should Be, and Be a Bee are part celebration of the ‘how to’ video, part synesthetic experiment and in part a commentary on social sensitivity.

Death Drive by Liz Rodda (US, 2013, 7:37)

In his essay, “Beyond the Pleasure Principle,” Freud describes the death drive as a force that makes us behave in ways that counter Darwinian self-preservation. Death Drive consists of two YouTube videos shown side-by-side. On the left is a car driving smoothly through the Grand Canyon. On the right, a driverless car is stuck in reverse and circles continuously. The accompanying audio, sampled from a warped LP, suggests both decay and ceaseless repetition.

Cliffs Quarries Bridges and Dams by Josh Hite (Canada, 2012, 4:00)

Cliffs Quarries Bridges and Dams presents a series of moments in which bodies have just plunged into water from a height, leaving only their splashes as a visible trace. Video fragments of jumpers from the titular structures are sequenced by the audible reactions of onlookers behind the camera.

Fly by Scott Stark (US, 2012, 3:00)

A found 16mm film featuring an able practitioner of what is often called “the purest sport.”