Super 8, color, 3.5 min
Keywords: Art & Artists, Structural
The single frame is the only visible unit in film, yet it is nearly invisible. To see a single frame goes against the nature of cinema; even if that is its very nature. If every frame holds the same image, there will be no movement; if they are completely different from each other, there will be no movement either, but chaos. By using a still camera like a film camera and a film camera like a still camera, Numero 4 rides on the edge between film and photography. One unedited super-8 camera roll.
Super8 Rental: $30.00
Super 8, color, 6.5 min
Keywords: Films about Film, Media
A complement to the previous film: the fictional hero has the power to stop the projector, returning the cinema to its photographic origins, killing its motion. Having the unfortunate idea of taking his self-portrait, he finds himself caught in a photograph, condemned to live in the fleeting reality of the single frame.
Super8 Rental: $30.00
End Memory (Impromptu)
16mm, color, 5.5 min
About ends and memory, the end of an era. I film to remember: the end of a summer, of a family, a last trip to Vermont before a separation, grandparents getting older.... I film impromptu, dissolving and fading in the camera. At night I develop the film in a beaker. It sticks together and stains, leaving traces and holes that only add to the nostalgia. I leave the film as is, adding only some improvised music, which by its minor harmonies and discordances goes well with the faded, stained pictures.
16mm Rental: $30.00
Charlemagne 2: Piltzer
16mm, color, 22 min
A piano concert by Charlemagne Palestine, filmed on super-8 and optically printed. Each film frame corresponds to a note in the concert; as the music speeds up, photography becomes cinema. The discordant harmonics are translated visually into complementary colors. By representing music visually, the fast flickering creates an orgasm in the optic nerve
16mm Rental: $60.00
Faux Mouvements (Wrong Moves)
16mm, color, 12 min
Having studied cognitive science and film semiotics, Pip Chodorov (b. 1965) recent films and drawings explore the terrain between the two fields. While aiming to confuse the parts of the brain responsible for the perception of motion (areas VI7 and VI8 of the optical cortex), Chodorov maximizes the potential hypnotic power of repetition and irregularity.
16mm Rental: $50.00
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