Created during and between military coups, civil wars, diverse authoritarian regimes, and invasions led by the United States, experimental cinema in Latin America has not escaped the impact diverse forms of social upheavals and violence. In many of these contexts, resistance, even social commentary, can be a precarious, even dangerous, project, and tonight’s program surveys some of these expressions. In the war-torn El Salvador of 1980, the collective “Los Vagos” shot documentaries and one fiction film, Zona intertidal, a poetic treatment of the politically motiv
Filmforum welcomes back the filmmaker (and former board president) Beth Block for one more grand screening before she relocates to the grand state of Hawaii. Starting with her optical printer masterpiece Film Achers, and including her digital masterpiece Successive Approximations to the Goal we’ll also have a chance to see other recent digital work that has not yet graced our screen, and get a sneak preview of a work-in-progress.
The Summer of Love. Los Angeles Filmforum commemorates the 50th anniversary of the radical cultural upheaval with an assortment of mind-blowing (as intended) short underground films. These films used a variety of tactics to manifest or assist with perceptual expansion and experience found in sex, drugs, music, and art. Some pursue idea of psychedelia (Third Eye Butterfly; Doppler Effect: Version II) others express openness in sexuality (Fuses); and others try to capture some of the spirit of group revelry, drug-taking and celebration (Letter to D.H.
Whether you call it collage, compilation, found footage, détournement, or recycled cinema, the incorporation of already existing media into new artworks is a practice that generates novel juxtapositions and new meanings and ideas, often in ways entirely unrelated to the intentions of the original makers.
On the eve of the 9th edition of the Festival of (In)appropriation, Los Angeles Filmforum is thrilled to present this intimate prelude, featuring works by three stalwarts of the found-footage filmmaking universe. Orbiting at the upper reaches of the avant-docu-sphere, the works of Tony Gault, Roger Beebe, and Elizabeth Henry offer remarkable explorations of creation and destruction, desire and loss, land and spirit.
Filmforum concludes its 2016 season with a return visit from filmmaker Eric Leiser. Experimental animator Eric Leiser makes films that explore dreams, Christian imagery, surrealism, and magical realism while employing a variety of cinematic techniques, including stop-motion animation and holography.
Filmforum is honored to welcome Toronto-based artist, writer, curator, poet, thinker, and filmmaker Mike Hoolboom for the Los Angeles premiere of his brand new feature, Incident Reports. (Hoolboom will also be showing a selection of short works at REDCAT on Monday, 9/19.)
Mike Hoolboom has forged a singular artistic and curatorial identity over the past few decades, as his various creative, intellectual, pedagogical, and research practices have overlapped and interwoven, along with the circumstances and experiences of his own life. As a result, encountering Hoolboom's work – whether through his films, his criticism, his curating, his teaching, etc. -- is something akin to experiencing a rich, intricate, and irreducible slice of Hoolboom himself.
Tony Conrad passed away earlier this year at the age of 76 after battling cancer. A pioneer in avant-garde music, film, and numerous other media, Conrad indelibly altered the course of contemporary art and thought. Last visiting Filmforum in 2005, Conrad was a constant icon for us, with his persistent curiosity and delight in old and new work, his humor and intelligence. We’ll miss him terribly. For this tribute, we’ll screen classic film and video works and host several speakers.
Los Angeles Filmforum presents The Festival of (In)appropriation #8
Curators Jaimie Baron and Greg Cohen in person!
Whether you call it collage, compilation, found footage, détournement, or recycled cinema, the incorporation of already existing media into new artworks is a practice that generates novel juxtapositions and new meanings and ideas, often in ways entirely unrelated to the intentions of the original makers. Such new works are, in other words, “inappropriate.” This act of (in)appropriation may even produce revelations about the relationship between past and present, here and there, intention and subversion, artist and critic, not to mention the "producer" and "consumer" of visual culture itself. Fortunately for our purposes, the past decade has witnessed the emergence of a wealth of new audiovisual elements available for appropriation into new works. In addition to official state and commercial archives, resources like vernacular collections, home movie repositories, and digital archives now also provide fascinating material to repurpose in ways that lend it new meaning and resonance.