Wednesday MARCH 5, 2014 — 6PM

THE GHOST THING

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This show is reviewed by Joel Schlemowitz in BOOG CITY:

“Haunted Landscapes Poetic and Experimental Cinema Screenings”
Issue 87, p8

http://www.boogcity.com/boogpdfs/bc87.pdf

THANK YOU JOEL !

http://www.joelschlemowitz.com

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Films to be Screened:
THE BROKEN NEWS SERIES – Part 1: DISASTER; Lori Felker; USA; Graphics: CHRIS ROYALTY; TRT: 4.00 minutes

This is an intimate attempt at reporting, mediating and being mediated. This comes from an experiment/performance in which I had a news desk set up at the foot of my bed for 2 weeks. I would read only headlines all day and then deliver the “news” from memory at night. Then, I would wake myself up in the middle of a deep sleep and report all of the newest news I could muster (my dreams). The next step was to gather those newscasts and send them off to another level of mediation: my graphics department (artist Chris Royalty). Using text from my nighttime headline news, actual news, stream of consciousness video clips I gathered and variations on all of the above, he helped to create the full, overwhelming image of information dissemination.

MISSING GREEN; Joey Huertas aka Jane Public; TRT: 9.48; digi

A film that draws on the disappearance of Erin, a female Sarah Lawrence College student, and ecology major, who has been reported missing for over 11 years. Using a hypnotist and material derived from private and public archives and collections, published works, unpublished works, letters, diaries, interviews, gossip, emails, telephone conversations, videotapes, MISSING GREEN becomes a PIXELVISION study of untreated Clinical Depression. www.janepublic.com

MELT IN THE SHADE; Kyoungju Kim; USA; Camara Kyoungju Kim, Xiaochuan Xu, Xiaowen Zhu, Daniel Aguilera; Sound Design Kyoungju Kim, Sanjung Kim; TRT: 6.00min
A visual metaphor of the filmmaker’s journey to understand her roots after experience of cultural dislocation.

No. 1515; Carolyn Radlo; USA; TRT: 5:37min

A rumination on a fellow creature caught in the twists and tangles of fate to land here on this hard ground, in this harsh noise.1515: a number, a year, a series of steps back and forth, day in, day out. And the ancestors, somewhere in the background, their over-lapping, interweaving stories.

GOWANUS HAZE; Margaret Rorison; BROOKLYN; Voice recordings: Harry Bennett, Sr; TRT: 5:41min; 16MM to digi

“Gowanus Haze” is a short 16mm film shot over the course of a day in Brooklyn, New York. The film depicts a landscape known as The Gowanus Canal, which is often associated with grime and desolation. Other shots were taken along the artery of 3rd Avenue in South Brooklyn. The accompanying soundtrack is composed of recorded sounds of a lumberyard in Northern Vermont, wind, synthesizer, the projector projecting the film itself, my voice and excerpts of stories about New York from my demented grandfather.

THE TIME THAT REMAINS; Soda Jerk; AUSTRALIA; TRT: 12 min

In this gothic melodrama, Joan Crawford and Bette Davis perpetually wake to find themselves haunted by apparitions of their older and younger selves. Isolated in their own screen space, each woman must struggle to reclaim time from the gendered discourses of ageing that mark her as ‘past her prime’. Comprised entirely of sampled audiovisual material, this experimental found footage work is the third séance fiction in Soda_Jerk’s ongoing Dark Matter Cycle

THE DEEP DARK; Laura Heit; USA; Music: Emily Lacy; TRT: 7:07 min

Walk straight into the subconscious and face your fears. An elliptical cinematic song cycle, this animation journeys into the psyche with projected shadows, fleeting lights, and ethereal vocal incantations.

2198 GHOSTS IN THE SUN PEOPLE IN THE SEA; Yvette Granata; USA; TRT: 3.20 min

A reorganization of day and night. Displayed in split-screen and vertical motion, the video travels through a series of 2,198 photographs taken in the house of my deceased grandparents in a small town in Abruzzo (Italy). Since their death many years ago, the house has remained empty. Positioned in front of ceilings and the corners of rooms, the camera is a surveillance of my position within the house and the changing light across the surfaces of the empty interior. It is a self-portrait through the re-organization of time and space