WEDNESDAY JULY 18, 2018 — 6 PM

Imagining Minutes    curated by Lili White     TRT: 52.03 minutes

FILMMAKERS in the HOUSE for Q & A:
Rebecca Krasnik, Kera MacKenzie, Andrew Mausert-Mooney

Click Here to view the Video of the Q & A

The Raconteur; Rebecca Krasnik; Denmark/USA; 3.00
Raconteur is a surreal conversation on photography and the relation between the still image and the perception of time, memory and truth.

ARMS; Lucie Friederike Mueller; Austria / Germany; 2.57
Credits: thanks to Jelena Petrovic, Constanze Ruhm
The right to own and use a gun for self-protection is a widespread and politically influential opinion in the USA. ARMS shows us how women in a patriarchal system are supposed to be transformed into confident individuals through the use of a gun. It gives us a sense of the manipulations that have led to weapons becoming a fetish of American society.

Please Come Again; Alisa Yang; USA; 9.00
An essay that narrates the collective and personal memory of three generations of Asian women through the rooms of Japanese love hotels.

1st DAY & NEXT MINUTE; Sara Koppel; MUSIC & SOUND; Sune Køter Kølster; Denmark; 2.30
An explicit rush adventure into a she-persons zone of desires. Where lust & responsibility is constantly dividing & demanding needs.

LETTER FROM THE GONE WORLD; Lydia Moyer; USA; 17.00
Loss returns to us what is gone in this portrait of the future in the past tense.

STONES FOR THUNDER; Kera MacKenzie and Andrew Mausert-Mooney; USA; 20:28
MUSIC; Winter Haven by Golden Birthday (Ryan Sullivan)
SOUNDTRACK: Chris Dammann
SOUND MIX; Kera MacKenzie and Andrew Mausert-Mooney
VOICES: Caesar Glebocki, Laura Vandiver, Tim Sinclair;
Featuring (in order of appearance); Dorothy Humphrey, Caitlin Joy Shantz, Susan Barse, Maria Pecchioli, Chisom Chima, Mike Szlamowicz, Sean Foltin, Kris Seale, Erik Elvgren, Tania Pedroza, Salvador Salazar, Andres Aurelio, Journee Cuffie
CITIES AND STATES OF PRODUCTION:
Chicago, IL; St. Louis, MO; Beaufort, SC; Austin, TX; Charlottesville, VA; Istanbul, Turkey

3, 2, 1 . . . a TV director counts down, paltry images become actors, and bodies find sync.

This video evolved from a process of collecting odds, ends, and outtakes from past live performances, installations, and casual recordings we’ve made over the last five years. During this process there were a few key words and phrases that we kept in our mind.

Bodies in sync – Both of us work jobs that require the orchestration of groups of people around single moments in time.

For Kera it’s as a video teacher, teasing the attention of teenagers around a shared screening, conversation, or shoots. For Drew, it’s as a live-stream video technical director and producer, requiring emails, phone calls, runs of show, and all sorts of practice weeks ahead of the LIVE moment. When you’ve done it enough with the same people, the coordination takes less time.

Any communal act of sync can feel like a small miracle, including challenge and beauty of gathering an audience for a screening of experimental video. The work of organizing people around time is fascinating to watch because one can be good or bad at it, succeed or fail, and get better with practice.  It also seems like a necessary step in building political power. 

Paltry images — We were driving through rural southern Wisconsin, listening to one of the few radio signals our antennae was able to pick up — a contemporary pop MIX type station that is produced in a big media city and is then cloned and franchised for markets all around the US.  Like in most experiences with this kind of media, the sound was a kind of constant architecture that was present but not really available in either of our minds, until a stinger came on between songs that said, “MIX 105.3! We play everything!”  

Suddenly, because of the strange and impossible ambition of the claim — “EVERYTHING” — we both looked at each other and accessed the sound. You could imagine a person sitting in a sales office, writing that copy.  Images and sounds can sometimes feel so inevitable, origin-less, oppressive, like they were always there and can never be avoided. We are interested in images with cracks in them, that feel like they might fall apart at any time.

Gestic thinking — There’s a text by Harun Farocki where he explains his notion of gestic thinking, where you learn about the nature of material (in his and our case, footage) by actively pushing and pulling and touching it enough until it tells you what it is. 

He describes a process of letting go of what you thought you had when shooting and discovering what you have in front of you. Farocki also talks about an autonomy of the image that you can discover if you watch your footage enough. He equates it to recognizing a foul in soccer, you’ve got to play it back in slo-mo, sometimes over and over again, to really see the fouls in your production.

Off action movement — Regarding performance, it’s always fun to watch an actor in a play or a player in sports that doesn’t have the focus of attention, or the ball.

sposored  by: New Filmmakers NY
Anthology Film Archives, 32 2nd Avenue at 2nd Street NY NY 10003
(F train to 2nd Avenue)
Admission: $7 entitles you to see all NEW FILMMAKERS screenings this night!