"Barbara Hammer paints a colorful portrait of the American poet Elizabeth Bishop, from her childhood to her death in 1979. Bishop described herself as “timorously kicking around the coastlines of the world,” and the film is loosely organized around her stays in Nova Scotia, Key West, Brazil, and Cambridge—the homes she made for herself and the lovers she took. Never “out” as a lesbian—the concept would have been foreign to the writer who graduated from Vassar in the thirties—Bishop nonetheless actively pursued women, from her first summer-camp crush to her last affair. Hammer examines Bishop from all angles, interviewing everyone from literary luminaries like Marie-Claire Blais and Edmund White to Lota’s aged former maid. Hammer pulls the viewer into Bishop’s world, blending present day footage of each location with archival photos, and recreating moments in the writer’s life." Adapted from text by Monica Nolan (Frameline)
In his essay “Ghosts in the Darkness”, Apichatpong Weerasethakul, describes his childhood cinematic experiences. Before the invention of VHS, people would go to theatres as if visiting temples to pay homage, they would wear their best outfits and attend with reverence. Going to the theatre and buying tickets for a movie was almost like attending a sacred ritual; the directors and stars of the movie were like gods in temples. Eventually when VHS was introduced in his town the number of people going to theatres declined. Whereas Apichatpong found other movie gods in other cities, gods like Federico Fellini, Michelangelo Antonioni and Jean-Luc Godard, the former moviegoes disappeared, leading Apichatpong to call them “ghosts“.
The UMW Media Wall is now accepting submissions for the 2016-2017 academic year. The Wall is a one-of-a-kind moving image exhibition space located in the atrium of the Hurley Convergence Center at the University of Mary Washington in Fredericksburg, VA. The Wall is a large scale high definition video canvas composed of 43 separate Prysm Laser Phosphor Display (LPD) tiles arranged into a freeform array that measures 10 feet wide and 12.5 feet tall. Every month a new artist or group show will run on a 24 hour continuous loop.
Staunton International Film Festival or SIFF, is a community based festival focused on emerging filmmakers with a high emphasis on experimental, avant-garde and independent underground cinema. The festival was conceived by filmmakers for filmmakers and is setup to be an alternative to the often elitist mainstream festivals.
Fylkingen and Turbidus Film present a film programme focused on gardens, structural landscapes and field studies. In micro narrative of almost non-action, re-structuring cinematic forms, archetypal routines, off-screen presence, image in the images, this program provides the violence of the Atlantic Ocean hitting the coast, Brancusi's scuplture garden at Tirgu Jiu, the beach of Palud, the fields in Bourgogne and a garden in blossom from a dead mother's house.
Special on Barbara Hammer: Audacious Appropriations: Barbara Hammer’s First Half-Century, by Greg Youmans
The scope, inventiveness, and audacity of Barbara Hammer’s career compel us to expand the frame from found footage to appropriation more broadly. Her appropriations of material from audiovisual archives (what is traditionally called found footage) came after and alongside more fundamental appropriations of various cinematic means of production, from film cameras and optical printing to a range of digital hardware and software, as well as the generic codes and practices of pornography and documentary. And these actions have in turn always been bound up with her appropriations of physical space: in film after film, Hammer wrests space (and time) away from heteropatriarchal coding and control.