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The Triangle Indie Film Meetup Group Message Board › "The Cloud in the Compass" (experimental cinema) -- a special prog

"The Cloud in the Compass" (experimental cinema) -- a special program of short films - Nasher Museum - Mar 19th

Cary, NC
Post #: 343
Saturday March 19th at 1pm in the Nasher Museum of Art Auditorium:
Guest curator Mark McElhatten presents--"The Cloud in the Compass" (experimental cinema) -- a special program of short films:
"The Cloud in the Compass"

Sponsored by the Program in the Arts of the Moving Image (AMI) and the Nasher Museum of Art.

Programmed and presented by Mark McElhatten

What happens when frequencies go missing and words cluster and snake? Disorientation finds its way home. All realities are reversible in the mind and in the language of letters and light. All interpretation is selection and the breaking of waves, of wavelengths. Tuned to unseen stations we cannot locate or reach we nevertheless receive, confuse and radiate. The stories we tell scramble in cacophony as Babel falls. And the sound of our hearts beat in radio silence.

Cinema is not just film not just movies, it existed before film and will go on after. It is a mode of perception native to us all, occurring in nature and in thought. It is a way of seeing.

The next voice you hear:

The croaking voice of the most graceful film star of the silent silver screen, (after the Fall). The sound mimesis and rapturous punk rants of a sightless enthusiast with a lust for life. A Welsh voice intoning, channeling Andy Warhol. disembodied and grave. Quavering ghost talk conducted through the cracks of a contemporary ruin. Sounds of unseen voices and objects that make pictures without optics where you must fill in the blanks. Choirs of static and interstellar space.

The next voice you hear

Will be your own.

The voice that lip synchs in silence reciting everything you have read since you were born. The voice that speaks to you when you are lost and guides you home. The voice that cries out in your head when you lose your voice.

Films to be screened:
One Day Franz Brought Me To His House
(Ernest Marrero and Susan Kougel, 1982, 15 min, silent, B&W, 16mm)

An indelible classic of the early 80’s long withdrawn from view makes a rare showing through special arrangement with the filmmakers. -- MM.
An experimental narrative film in which the present day relevance of the Nazi holocaust is brought to bear on the political and religious realities of contemporary German society. ONE DAY FRANZ... consists of printed texts from which simultaneous narratives unfold. This unfolding interaction of poetic and public language produces a complex narrative reading. --E. M.

Mnemosyne Mother of Muses
(Larry Gottheim, 1987, 16 min, sound, color, 16mm)

A mirrored form in counter-movement, dense with emotion-charged memory -- a rapidly sparking dynamism of image and afterimage, swirling resonant words/music, juxtaposing loss, my father's stroke, Toscanini, Siodmak's The Killers, the Red Robin Diner. ... I seem to be quickening.” -- L.G.

Herman Slobbe Blind Child 2
(Johan van der Keuken, 1966, 29 minutes)

"Film is not life, but it has to touch your life. It’s a second life.” – van der Keuken
Filmmaker, photographer Van der Keuken made over 55 films of rare compassion and incisive local and global analysis until his sudden death in 2001. Herman Slobbe is one of his greatest, an unforgettable portrait of great invention and humanity that focuses on a blind 14 year old boy. Herman is both rebel and raconteur a natural artist and an unquenchable living flame.

She Had He So He Do He to Her
(Leslie Thornton, 1987, 5 min sound, color, 16mm)

False Aging
(Lewis Klahr, 2008, 14 min, digital; Music from Valley of the Dolls, Jefferson Airplane and John Cale and Lou Reed)

“It’s hard to believe that False Aging clocks in at under 15 minutes, given how powerfully it evokes passing decades punctuated by muffled eruptions of longing and regret. A button revolves around a clock—and the world moves with it. Klahr shares Joseph Cornell’s alchemical genius, but his collaged reveries cast deeper shadows and offer little magical protection from death and disappointment.” —Kristin M. Jones, Film Comment, Top Ten Films of 2008

Detroit Park
(Julie Murray, 2006, 8 min, digital)

A chorus of archaic voices howl and whisper, seeping through the cavities of urban ruins. Every city is an archeological layer cake of demolition, decay and scandalous erection. The rise and fall of commerce spurs the reincarnation of spaces. Movie palaces are converted into tabernacles. Churches deconsecrate and become shoe stores. Graveyards are excavated and the dead are disinterred, evicted as unwanted tenants. Parking lots bloom like weeds as plentiful as graveyards. These mutated spaces funnel faded glory, funk, and buried treasure and the voices of the past speak in fuzz tones. To translate the voices that trickle through brick, mortar and granite may require a historical scholar. To translate the noise bandwidth of interstellar space into human glossolalia, and then again into near English, requires a madman or a poet. One man’s ceiling is another man’s floor and one person’s marvel of a gaping ruin is another’s garage of convenience. In Detroit Park Julie Murray combines these restless polarities, mining the offerings of such rare hybrids to make a construction site all her own. -- M.M.

Observando el cielo
(Jeanne Liotta, 2007, 19 min, 16mm)

Soundtrack by Peggy Ahwesh with recordings by Ahwesh, Liotta, Mailie Colbert, Barbara Ess, and Radio Guitar.
Liotta's Night Watch. Radio Waves and Constellations. When you wish upon a star the skies rise and shine. -- M.M.

Seven years of celestial field recordings gathered from the chaos of the cosmos and inscribed onto 16mm film from various locations upon this turning tripod Earth. This work is neither a metaphor nor a symbol, but is feeling towards a fact in the midst of perception, which time flows through. Natural VLF radio recordings of the magnetosphere in action allow the universe to speak for itself. The Sublime is Now. Amor Fati!

About the programmer:
Mark McElhatten has been programming film and video since 1977. McElhatten’s programs have been featured at museums, film festivals and alternative spaces worldwide.

He initiated the ongoing The Walking Picture Palace series in 1994. He is the co- founder/programmer of "VIEWS FROM THE AVANT - GARDE," an annual series now in its 15th year at the New York Film Festival. He curated over 110 programs for the Whitney Museum of American Art - "The American Century part 2 - The Unfixed Image" and advised on the film section of The Whitney Biennial.

McElhatten programmed special series at the International Film Festival Rotterdam including the House of Instants, a ten part Stan Brakahage retrospective (reprised at the National Gallery of Art, Washington D.C.), and a Nathaniel Dorsky retrospective.

He has been a visiting professor at Bard College and assistant professor at State University of New York at Binghamton. He has published writings on Ken Jacobs, Andy Warhol, Paoli Gioli and Mark LaPore and others.

He is currently the film archivist for Martin Scorsese, a position he has held since 1999.
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