Cinema Under the Western Influence curated by Alex Mackenzie
Cinema Under the Western Influence
Films by Ellie Epp, Chris Gallagher, Al Razutis and David Rimmer
Saturday, March 6, at 9:00
About 20 years ago, I saw a handful of short films by four Vancouver-based experimental filmmakers in a university film studies class taught by Peter Harcourt. They made an immediate and profound impact on me—so much so that I decided to travel west a few years later and see what I might find that inspired these sometimes beautiful, sometimes disturbing, and always rigorous moving image works. What I found were the filmmakers themselves. Here, then, is an assembly of some of those early works that continue to impact on my own practice and ongoing interest in landscape, structure, beauty, light, and the tools of cinema. – Alex MacKenzie
98.3 KHz: (BRIDGE AT ELECTRICAL STORM)
98.3 KHz: Bridge at Electrical Storm by Al Razutis
The suspension bridge as electromagnetic tower, antenna for sixty years of radio waves and engulfed in video storm. A spatial image of the transition from an industrial society linked by transport to a post-industrial society linked by communications. A repeating journey across the San Francisco Bay Bridge becomes a journey into disintegrating visuals and video transformation. – Al Razutis
A Message from Our Sponsor by Al Razutis
The claustrophobia of media “reality”—compartmentalized into game shows, movies, news reports, commercials—is presented as continuous interchangeable spectacle. This film looks at the ideology of misrepresentation, the turning of facts into icons, history into myth. It analyzes the media’s metalanguage, especially the image of woman as spectacle and commodity; and the psychology and economics of male voyeurism. – Al Razutis
Narrows Inlet by David Rimmer
From a boat swaying on its anchor at the head of an inlet, a landscape of pilings, shore, and forest is slowly revealed by time-lapse photography as the morning fog lifts. While the deep space of the landscape emerges out of the fog-enshrouded flatness of early morning, the camera skips from fixed point to fixed point, suggesting the motion of the human eye while reading.
Seeing the Rain by Chris Gallagher
Shot through the windshield of a Vancouver city bus, this film transforms the linear narrative of an ordinary city transit ride by inserting images from past and future to the rhythm of the bus’s windshield wipers. As the time/space continuum fragments, reality seems to be chasing itself. “…Embodies the essence of cinema: movement, rhythm, the poignancy of ephemeral gestures.” – Jim Hoberman
Atmosphere by Chris Gallagher
A coastal landscape at Downs Point, Hornby Island, is panned back and forth to a mysterious pattern or non-pattern. Drum accompaniment keeps the viewer questioning the film’s structure and purpose. A rumination on cinematic representation.
Current by Ellie Epp
Made in the Museum of Anthropology in Vancouver, vertical lines shift black revealing blue, and then a movement of the black itself. A subtle and cin-erotic embodiment of meditation.
Notes In Origin by Ellie Epp
“What I like in film is precision, slightness, economy of means, delight, inference, and a kind of motion that can be followed but not tagged, and makes seeing intelligent.” – Ellie Epp.
“Shot in northern Alberta, where the artist grew up, the film consists of ten long-take shots of various lengths divided by black leader bearing a number for each successive shot….Here Epp intimates a mysteriously shared and personal complicity of artist and viewer without, however, abandoning that purity and extraordinary elegance that mark Epp as one of the most accomplished of film artists.” – Bart Testa, Art Gallery of Ontario catalogue