Sunday March 23, 2008, 7:00 pm
At the Echo Park Film Center
1200 Alvarado Street (at Sunset, northeast corner)
Los Angeles Filmforum presents
You Pick ‘Em 2! A selection of experimental films from Canyon Cinema
**NOTE THE CHANGE IN LOCATION**
For the second time, Filmforum asked you, the audience, for your choices from the vast Canyon Cinema catalogue. Rarely screened classics, curiosities, forgotten wonders?
Hand Eye Coordination by Naomi Uman (2002, 16mm, 10min)
The film tells the story of its own making.
Womancock by Carl Linder (1965, 16mm, 15min)
Requested by Dominic Angerame, Canyon Cinema:
Here’s my pick – the film has never been rented or probably seen by anyone west of the Mississippi.
“Carl Linder’s Womancock has a rippling surreality to it, using montage-collage cinema, superimposing images within the frame and juxtaposing pieces of film and snips of music and talk to make statements about women. Which is? His women are pretty disgusting (albeit, erotic) creatures. But, more importantly, Linder has manipulated his pictures and our minds with so much unobtrusive artistry that we don’t know until later how thoroughly he had done his job.” – Michael Ross, LA Free Press
Notebook by Marie Menken (mid 1940s-1960s, 16mm, 10min)
These are too tiny or too obvious for comment, but one or two are my dearest children. “It is a very personal film which she keeps adding to … a masterpiece of filmic fragments, only shown once, but wow!” – P. Adams Sitney
Hold Me While I’m Naked by George Kuchar (1966, 16mm, 15min)
Requested by Fumiko Amako:
I’m embarrassed to say this, but haven’t seen any films by George Kuchar except for the clips from John Waters’ documentary film.
“A very direct and subtle, very sad and funny look at nothing more or less than sexual frustration and aloneness. In its economy and cogency of imaging, Hold Me surpasses any of Kuchar’s previous work. The odd blend of Hollywood glamour and drama with all-too-real life creates and inspires counterpoint of unattainable desire against unbearable actuality.” – Ken Kelman
“This film could cheer an arthritic gorilla, and audiences, apparently sensitized by its blithely accurate representation of feelings few among them can have escaped, rise from their general stupor to cheer it back.” – James Stoller, The Village Voice
Some Manipulations by Jud Yalkut (1967, 8mm, 3min)
Requested by Carlos Kase
With Nam June Paik and Charlotte Moorman, Jean Toche, Steve Rose, and Al Hansen.
A four-screen within one frame film, shot in un-slit regular 8mm, in four sections of four performance / happening / destruction art events presented in 1967 at the Judson Gallery below Washington Square in New York City. The Manipulations series, curated by the Judson’s director Jon Hendricks, was a series of evening performances of actionist art, some directly related to the international Art and Destruction movement.
Bottle Can by Luther Price (1993, S8mm, 20min)
Requested by Bradford Nordeen:
May I please put in a suggestion for Luther Price’s Bottle Can. It is impossible to see his work and I would greatly appreciate it!
If I lived a thousand years ago
I’d probably be running half naked
in the scorching sun
over jagged rocks
ripping open the bottoms of my feet
and tearing off my toes.
Blood-curdling screams behind me
A tribe of men chasing me
If they caught me
they’d probably chop my head off
Dark Dark by Abigail Child (2001, 16mm, 16min)
“Dark Dark is a ghost dance of narrative gesture melding four found story fragments: Noir, Western, Romance and Chase. The music of Ennio Morricone provocatively interacts with the images, tantalizing the audience with webs of memory, meaning and elusive folly.” AC
Dark Dark travels behind the scenes to re-view storytelling and its place in our cultural movie-influenced milieu. With loving attention to its ‘slates’ and ‘waits,’ its anonymous crew and actors, Dark Dark creates a comic but somehow disturbing voyage into the ‘story.’