-----Original Message----- 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] ------------------------ Yahoo! Groups Sponsor --------------------~--> Yahoo! Domains - Claim yours for only $14.70 http://us.click.yahoo.com/Z1wmxD/DREIAA/yQLSAA/pDJolB/TM --------------------------------------------------------------------~-> 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] Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/secretcinema/ <*> To unsubscribe from this group, send an email to: [log in to unmask] <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/