Dominic Angerame (b. Albany, New York, USA, 1949) is an American experimental filmmaker who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. In 2006, Angerame presented his films Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival, re-opening the festival to experimental cinema.
Angerame's cinema cannot be categorized as simply experimental, which implies trials with unpredictable results. but rather is better described as a visual invitation to a non-narrative cinema. Indeed, we very quickly perceive that, in this filmmaker's filmography, the city is a field of experimentation that he manipulates, transforms and redefines through the contrast between his nervous and destructive montage and his delicate and poetic superimpositions.
The image sketched by Angerame is a combination of documentary and poetry, an aesthetic alliance between realism and phantasmagoria, a reminiscence of both the raw documentary cinema of Russian avant-garde filmmaker Dziga Vertov and Jean Cocteau's poetry.
Angerame himself designates a certain body of his work as "City Symphony," a clear indication of the filmmaker’s desire to present us with a new view on the defined and concrete spaces of a living world, very much in-the-making, in flux, and which we experience every day. Combined with the temporal detachment produced by Angerame’s editing, his confrontation of image and superimposition, we see what Stan Brakhage called "apparent lightness."
“And in the midst of it all — the streets, the bridges, the roads, the roofs, the endless river of communication cables and the windowed monoliths of jutting superstructure — there stands man. The film is like a dream you can’t put your finger on and can’t forget, because the very truth of it is so evasive, suggestive, labyrinthine. And then it dawns on you, the very fact of life is heroic.”
“The concrete world of the American infrastructure and its demise are made strangely poetic in this expressionist documentary which shows the vacant San Francisco Embarcadero Freeway before its destruction. In an atmosphere of daylight, mystery, Angerame sows inklings and reveals the past encircled by the future. Lyrical, ominous, comic, Premonition works on the attentive viewer like a remembrance of something that is to happen, a silent, telling daydream.”
-Barbara Jaspersen Voorhees
“...the images of Continuum certainly haunt me. It was amazing to me how little evidence there was in the film of the Time in which it was made, or even the location. I found myself tending to forget that these were City-chores, that this was rooftop work, so forth: just the labor, the continuity of labor, timeless, and ongoing, withOUT inexorable. Bravo.”
- A Ticket Home, 1982, Color, 11 Mins
- I’d Rather Be In Paris, 1982, Color/B&W, Silent, 17 Mins
- Honeymoon In Reno, 1984,Color, 8 Mins
- Continuum, 1987, B&W, Silent, 15 Mins
- Deconstruction Sight, 1990, B&W, 12 Mins
- Premonition, 1995, B&W, 10 Mins
- Line Of Fire, 1997, B&W, 8 Mins
- In The Course Of Human Events, 1997, B&W, 23 Mins
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