16mm, color, 16 min
Keywords: Found Footage, Structural
An 18-second sequence originally from a fifties American "B" movie is reproduced frame by frame and altered as to its temporal and spatial progression. Given factors: her and him, the scenographic space and the time spent in that scenographic space.
16mm Rental: $48.00
passage a l'acte
16mm, color, 12 min
Keywords: Family, Found Footage, Structural
Given context: a Hollywood text from the early sixties; a family breakfast with husband, wife, son and daughter. Inscribed: a re-petition of what is diminished, set apart and alien; a symptom. Four people at the breakfast table, an American family, locked in the beat of the cutting table. The short, pulsating sequence at the family table shows, in its original state, a classic, deceptive harmony. Arnold deconstructs this scenario of normality by destroying its original continuity. It catches on the tinny sounds and bizarre body movements of the subjects, which, in reaction, become snagged on the continuity. The message, which lies deep under the surface of the family idyll, suppressed or lost, is exposed -- that message is war.
"The first shock, the first flight, the fear at the beginning of the film: The son jumps up from the table and throws open the door, which sticks in an Arnoldian loop of hard, hammering rhythm. He is compelled to return to the table by a mechanically repeated paternal order, 'Sit down.' And at the end, when the two children spring up, finally released from their bondage, Arnold is again caught at the door; at the infernally hammering door, as if it were completely senseless to try to leave here -- this location of childhood and two-faced cinema." -- Stefan Grissemann
16mm Rental: $36.00
Alone. Life Wastes Andy Hardy
16mm, black and white, 15 min
Keywords: Films about Film, Media, Found Footage, Music
In his new film Alone. Life Wastes Andy Hardy which together with piece touchee; and passage a l'acte, forms a sort of a trilogy of compulsive repetition, Arnold's campaign of deconstruction of Hollywood film codes finally turns to film music. The process links in with the other two films. The family scenes, which in the original last only seconds are not particularly notable, are surgically sectioned into single frames. Using repetition of these 'single cells' and a new rhythm -- a kind of cloning procedure -- Arnold then creates and inflated, monstrous doppleganger of the original cuts lasting many minutes. The hidden message of sex and violence is turned inside out to the point where it simply crackles. In Alone. ... the crossing of three harmless teenager films gives birth to an Oedipal drama in which not only mother love mutates to sheet lust. Since passage a l'acte, and contrary to other found-footage filmmakers who choose to remove their work into the realms of silent nostalgia, Arnold has re-worked the sound track along with the image. Because of this what one hears in Alone. ... is the eerie, rasping 'silence' of sound film, pregnant with suppressed tension. And exactly at the point where the illusion of full, living present is seemingly at its strongest -- in the screen presence of Judy Garland singing -- one senses the machine, and, implicitly, death, at work. -- Dirk Shaefer
16mm Rental: $60.00
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