Peter Gidal – Coda I (2013)

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Peter Gidal’s structuralist short CODA I is composed of three lines of a thousand-word story he wrote (as read by William Bouroughs in a cut­up tape collage) amidst an ultra-abstract play-of-light through a camera. Gidal describes his “so­called” imagery as “a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible.” – Stela Jelincic Continue reading

Kostas Sfikas – Alligoria AKA Allegory (1986)

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SUMMARY
The film recalls various periods of Greece’s history. Sfikas studies and interprets the artistic movements of his time, influenced by eighties Post-Modernism. Starting in antiquity, he passes through the Byzantine and feudal eras and ends up in capitalism, without proposing this as a final end. Following the spire of this development, Sfikas resorts to poetic allegory. His cinematic oratorio, where angels are crushed in the abyss of civilizations, is something more than the transformation of a philosophical idea into a film; it becomes the very soul of the poet who wonders about its perpetual evolution. Continue reading

Sandy Ding – Night Awake (2016)

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Quote:
Night Awake is an experimental noise film provoking 3rd eye (seeing what is inside beyond the limit of symbols) opening with image and sound. By transferring camera into a spiritual medium, the lunar god has taught messages in the gap of time. The film is from the graveyard, and it is a textile of death(final transformation), which made the lucid light shines in the depth of many dimensions. To call the third eye awakening, we should not agitate the surface of the mind and physical eye, but soothes and provokes the third eye to awaken. In the gap of time, the flame of images that rise and become eternity is forming the rhythm and the speech. The teachings received in green crystals and had been translated into this film. In distanced mysteries and the half rotten emulsion is the art of metaphysical connection and awakening. Continue reading

Lawrence Jordan – Man is in pain (1954)

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San Francisco based filmmaker Lawrence Jordan’s 1954 short follows his hand, gesturing through a house of mirrors, cards and paintings of women. Shot in black-and-white and playfully incorporating direct animation, enhancing the photographed image by scratching and etching directly on the film. A woman reads Philip Lamantia’s poem (from which the film gets its title), a choice, which evokes masculine angst as the hand acts out the scenario of the poem. – Stela Jelincic Continue reading

Peter Rose – Metalogue (1997)

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Quote:
Described as a cross between a “speech” and a “fireworks display.” A magician-like figure delivers a peculiar speech that is embedded in extravagant arrays of time-delayed images that reflect and refract ideas about memory, time and language. By embedding his gestures in a spectacular diachronic array, Peter Rose has created a new form of kinetic poetry. Continue reading

Werner Nekes – Uliisses (1982)

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The film is a Homeric journey through the history of cinema. Its theme is based on the mythological Odysseus of Homer, the Ulysses of James Joyce, and the synthetic figure, Telemach/Phil, from the 24-hour-long piece «The Warp,» by Neil Oram. Werner Nekes combines these three figures, and he shows their stories within the history of «lighterature,» writing with light = film. His central theme, however, is visual language in of itself: Odysseus/Bloom is transformed into Uli the Photographer, Penelope/Molly into his model, and Telemach/Stephen into Phil, who begins his «Telemachia». The connecting of their three lives occurs during the course of a single day, in September of 1980, in Germany’s industrial Ruhrgebiet region, preceding the elections in the Federal Republic. Continue reading