Destricted (unreleased in the US) A compilation of 7 shorts by 7 directors. Each film explores eroticism and sexuality in an art context. Standouts include Maria Abramovic's Balkan Erotic Epic, Matthew Barney's Hoist and Gaspar Noe's We F*ck Alone.
Quiet Sandwiches (not commercially available) A collection of short films by a young filmmaker from Wisconsin named Wesley Tank. Manic editing, stream of consciousness, heavy existential dialogue abound.
Possession (US uncut release out of print) Andrzej Zulawski's masterpiece. Possibly my favorite film of all time.
Tetsuo: The Iron Man Virtuoso stop motion, technofetish acid trip by actor/director Shinya Tsukamoto
Brand Upon the Brain Film by Canadian Surrealist Guy Maddin. I haven't seen this yet. It may have been shot in Super 8.
Gozu, Ichi the Killer, Visitor Q, The Happiness of the Katakuris Films by maverick Japanese filmmaker Takashi Miike. Gozu is a bizarre Lynchian horror, Ichi is an unbelievably violent manga, Visitor Q is one of the most f'd up films ever made, and Happiness is a family soap opera zombie musical with live action and stop motion animation. Some of the best stuff ever.
Fando y Lis, El Topo, The Holy Mountain Three films by Surrealist filmmaker Alejandro Jodorowsky.
Stalker Andrei Tarkovsky
If you have any special requests for the next Film Night, please let me know!
SFTP can be used to connect to the server remotely.
for a mac please use fetch or fugu, download links are:
Make sure you enter the correct USERNAME that corresponds with your
server folder :
for folder Lukkas1, the username is lukkas1 the password is: login
for folder Lukkas2 , the username is lukkas2 the password is: marker.
the Server's Hostname is: artserve.cla.umn.edu
the initial folder or pathname you will need to enter is either
here is a visual aid for filling in the info to connect
in Fetch it will look like this:
The Brothers Quay
Rehearsals for Extinct Anatomies (14 min.) Virtuoso stop-motion animation; b/w play with lines and vibration; I spoke with Sarah about the piece after watching her film with the lines of yarn, and I think those interested in stop-motion must see this.
Lumiere et compagnie (88 min., each film 1 min.) 40 directors were asked to shoot a film using an old Lumiere camera. The rules were: 1) the film could be no longer than 52 seconds, 2) no Synchronized sound, 3) no more than 3 takes.
Spring, Summer, Fall, Winter... and Spring (103 min., I can show scenes) This is in response to a class discussion on "visual" films. Kim Ki-Duk is one of the most important Korean filmmakers today. His films tend to mix extremely beautiful, Tarkovsky-esque quiet shots with extreme violence.
Stalker (163 min., scenes) In response to Ryan's film in which I commented that the landscape seemed to be the main character of the piece.
Tetsuo: Iron Man (67 min., scenes) Stop motion animation with chopped-up live action editing. Simply an amazing film that you must see if you're interested in stop motion animation.
I'm not sure what film of his I'd like to show yet, but I'd like to show something he's done in Super 8 such as Cowards Bend the Knee (60 min., scenes). Amazing surrealist filmmaker from Canada who takes a lot of inspiration from the silent film era.
I think it might be worth showing scenes from Possession (127 min., scenes) or On the Silver Globe (166 min., scenes) for Tim. Zulawski is a Polish filmmaker whose films are heavily influenced by theater and feature spastic, extremely volatile performances in constructed worlds where everyone is insane.
Jodorowsky came up in our viewing of Parajonov's Color of Pomegranites. I may show scenes from one or more of his films, possibly El Topo, since I'm still waiting on some Interlibrary Loan DVDs. I have his box set. Jodorowsky is a surrealist filmmaker with a carnival background who made films in Mexico, which often feature striking visuals, carnival-type performance art and the grotesque.
For my second project, I'll be exploring the concept of
"Minnesota Nice" as set in a Hitchcock ballroom dance sequence. "Minnesota
Nice" is a perfectly happy and hokey concept when you're from the city and
people are exposed to diversity, but to people with a mild interest in escaping
rural life while living in southern
To accomplish this, I'm going to need to track down a lot of talent to properly fill a "ballroom", which will be created using Studio B and plenty of noir-ish lighting. I think accomplishing a sense of menace won't be too hard. There will probably be other room for social commentary throughout this piece. I'm hoping that this will turn out to be a two- or three-reel film, maybe even a partial installation. We'll see.
In addition, I'm going to explore a more "cinematic" visual style that involves smoother (perhaps even dollied) shots. I feel like a stylized and slick style will work as a nice dramatic counterpoint to the inherently terrifying visions of "Minnesota Nice" that I've seen in my life. It's like a mix of Deliverance and A Prairie Home Companion, but twice as spooky.
Critique date: 11/04
Last processing date: 10/29.
Start date: Friday, 10/16
Tentative shoot dates: 10/17, 10/18, 10/25, 10/25
Editing from 10/29-11/03. Hopefully I can accomplish this in two days and then tweak as necessary.
I tentatively plan to continue exploring
Proposal 1: One of my videos is going to revolve around these suitcase shelters which I made last fall. I plan on taking them outside and using them as a main prop in the film. The theme of this video is an extension and growth of the the themes I had in mind when making the shelters. Exploring specific aspects of my childhood moments and behavior, especially involving the building of safe spaces, ideas of home and other aspects of creating mythical, mystical worlds. This I think will be shot digitally, but I would like to incorporate film within the digital movie.
Proposal 2: For another video I using old family footage that I found of myself and old footage I found of my mother as a child. I want to incorporate this into a video by combining it with original footage that I shoot. I think this might turn into a video performance and installation as well.
Proposal 3: One more proposal I have is for another digitally shot film. This project I see as an extension of the first project, with continuing themes from all the other projects. I want to see how my depictions of figures in drawings and prints can be translated and expanded onto film. By creating and exploring distorted realities that revolve around one figure.
Because Kodachrome is kind of dead (sob), many people are wondering
if their camera can take the new 64T Ektachrome or maybe other
Filmspeeds for common reversal super-8 films are mostly marked for
artificial light (without wratten filter - 85). For daylight you must
use this filter, which reduces the amount of light passing onto the
film surface. This is the reason why the same film "has different
Kodachrome film (K40) has 40 ASA in artificial light (without filter
85) and 25 ASA in daylight. This means for usage, in daylight the f-
stop must be 2/3 more open.
Ektachrome 64T film (artificial / Tungsten) used without filter 85B
has 64 ASA. Used with 85B for dayligth usage it has only 40 ASA. Also
for this film the f-stop must be 2/3 more open in daylight.
The cameras that only allow 40 or 160 ASA tungsten -25 or 100
daylight- are now only useable with B&W film stocks (f.e. Kodak TRI-X
160 ASA tungsten, PLUS-X 100 ASA daylight). Inserting a 64t cartridge
of into one of these cameras will most likely result in one of two
possibilities: an underexposure due to the camera metering for 160
ASA film loaded or an overexposure due to the camera metering for 40
ASA. However... if you don't try, you'll never know. I've read
stories about the 64t coming out fine out of these 40/160 ASA
It's also possible to use an ND filter to compensate.