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From: Secret Cinema [mailto:[log in to unmask]]
Sent: 02 August 2004 10:46
To: Secret Cinema
Subject: [secretcinema] Spool Pool, 7 August 2004 [faked-from]
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Saturday 7 August, 2004
SPOOL-POOL-3 at The Horse Hospital
1.Mapless Topographies
2.Retinal Robbery
3.Libidinal Expenditures
4.Cultural Production
Programme 1: Passport and exile
This eveningıs programme will begin with a song
THOUGHT MOVES SURROUND
Sanna Kuittinen. Finland. 2004. Colour. Mini-dv. 3min.
Thoughts on geographic displacement and the de-centred self. The nomadıs
compulsion cultural or through necessity - is to keep moving.
K1 (1ere partie)
Frederique Devaux. France/Algeria. 2001-03 Colour. 16mm. 3min.
K2 (2eme partie)
Frederique Devaux. France/Algeria. 2002. Colour. 16mm. 3min.
K3 (3eme partie)
Frederique Devaux. France/Algeria. 2003. Colour. 16mm. 4min.
K is for Kabylie. These three skilfully crafted films fuse aesthetics and
politics. The films echo each other. An experimental biography that reflects
on issues such as a childhood divided between two countries
Reading of SWEET MYSTERY OF LIFE (Arthur Berry, 1925-94). 5min.
Arthur Berryıs art is the vivid portrayal of people. His power of
observation captures the human condition with great wit. He details not only
the individuals, situations and surroundings, but embellishes it all with
acerbic humour and humanist compassion.
THE KING WHO WAS A KING
Benn Northover. UK. 2004. Colour. Mini-dv. 10mins.
This work gives us an insight into the thought and working philosophies of
musician and poet, Augustas Varkalis. Renowned, for his sublime piano
compositions for film makers, Jonas Mekas and Julius Ziz.
ROUGE
Gérard Fromanger's. France. 1968. Colour. 16mm. 3min.
A shot of the French flag, its colourıs slowly fills up the screen.
Originally this was to become a poster for the French General Assembly but
it was rejected. Jean-Luc Godard, who had heard about the idea, called
Fromanger up and they shot it together in May 1968.
Programme 2. Cinematic and Televisual Interruptions
David Ellis performs ZULURAMA. 15min.
OEZuluramaı is David Ellisıs extempore micro-essay on Onanism, Petting and
sucking on phalocentric ice lollies while watching "Zulu" in Row W of the
Odeon in Wood Green in 1969.
CLASSIC
Peter McCaughey. Ireland. 2001. Colour. 35mm on mini-dv. 20mins.
Peter McCaughey brings us the results of his "archaeological" investigations
into the rise and fall of the Classic cinema in Renfield Street Glasgow
which, after a fire brought about by mysterious circumstances, stood
condemned to dereliction for an eight year period.
WAITING FOR COMMERCIALS
Jud Yalkut & Nam June Paik. USA. 1972. Colour. 16mm. 7mins.
A hilariously kitsch compendium of Japanese commercials from the 70s. Some
people wait for Godot the masses wait for Adıs.
ESSAY
Arturas Barysas & Janis Strenge. Lithuania/Latvia. 1981. B/W. 16mm on
Mini-dv. 10min.
Both a humorous and poignant take on commodified existence. The mythologies
and stratagem of the "American Dream" unfolds as a semiotic and consumerist
threat to the domestic front of a young couple.
BINGO SHOW
Christelle Lheureux. France. 2002. Colour. Mini-dv. 8min.
OEThe space station and its inhabitants are waiting for their transmission.
They are floating in a programme without schedule. These presenters without
voices and smiles are out of time.ı (Christelle Lhereux)
THE WILDWEST SHOW
Al Razutis. Canada. 1980. Colour. 16mm. 12min.
This film re-tells a "day in the life" of "Television City" an urban
landscape that features the most exaggerated moments of Western history
portrayed on large billboards like icons.
Programme 3. Oh! Poor Lacan!!
EMILY
Tim Sidell. UK. 2003. Colour. Mini-dv. 4min.
Within bleached white space, "Emily" holds static doll-like poses suggestive
of a day on the beach. She meets someone and with great anticipation,
accompanies them to an evening dance.
Susana Medina reads THE MONEY KINDERGARTED from PHILOSOPHICAL TOYS. 10min.
Susana Medinaıs "The Money Kindergarten" takes up the pen as a metaphorical
scalpel, cutting deeply and with precision into the commodified psyche of
the society at large, where the obsession with the perfect body, shiny cars
and silky labels are the illusory signifiers of a desired identity.
A MESSAGE FROM OUR SPONSOR
Al Razutis. Canada. 1979. Colour. 16mm. 9min.
This film deals with television and its mythologies the fetishization of
violence through competition (seen as a dominant historical process in
American culture), and fetishization of sexuality through consumption.
Gad Hollander reads excerpts from THEATRE OF PSYCHODIALYSIS (BLACK LOVE)
(work-in-progress for a black film) 15min.
Gad Hollander takes us into a dark metaphysical excursion through the
libidinal economy of an age where love and spirituality has been relegated
to the empty labyrinths of capitalist individualism, where Zeus becomes a
serial net worker and plot advisor for TV fodder like OESex (God) and the
City.ı How the mighty are not yet fallenSS.but tumbling!
Programme 4. To Make or Not To Make
EURIPEDES MOVIES
Gad Hollander. UK. 1987. Colour. 16mm. 13min 30sec.
A light hearted and satirical jibe at the problems artists face fund
raising. Hollanders film parodies and pays homage to the likes of Pasolini
and Godard. Ironically this film, gave Hollander a foot through the door of
Channel 4. "On the advice of Sophocles a failed playwright adopts the name
Euripides. Several thousand years later Eisenstein suggests he make a film
of his play Medea."
HEY NICKY
Guy Edmonds. UK. 2003. Colour. 16mm. 10min.
A film whose structure is wantonly subverted by the many different processes
involved in its production. Allowed a dominance unknown in mainstream
cinema, these sometimes conflicting actions, provide a more exact
representation of the complexity of life.
THE ARTIST MIEKO
Ludley Westgate. UK.2004.Colour. Mini-dv. 10min.
"This interview could never be broadcast in the USA, the land of the free.
Maybe we should be thankful that such non-sense doesn't foul our screens.
It's better to be pacified by the diet of junk news and debauched reality
TV.
PHOTO SPOT
Al Razutis. Canada. 1983. Colour. 16mm. 10mins.
The filmmaker, as reluctant host, confronts his audience as pest (art
historian, film critic, psychoanalyst). The direct, personal intrusion of
the filmmakerıs voice is set against scientific charts about visual
perception and film chemistry, and optically constructed scenes linked by
the concepts of the photogenic and the pervasiveness of perceptual/technical
OEerrorı.
THE CRAZY GIRLS
Jesper Nordahl. Latvia. 2002. Colour. Mini-dv. 8mins.
From a bleak and forgotten landscape of post-industrial and economic
devastation emerged OEthe crazy girlsı who found a playful escape from the
harsh reality of their situation with an uncanny innocence and optimism. A
pop-dream.
...
at
The Horse Hospital
Colonnade
Bloomsbury
London WC 1N
Doors open 7:30pm till late
Tickets £7 / £5 concessions
Tube: Russell Square
Telephone 0207 833 364
Email: [log in to unmask]
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