The London Film Festival has just added repeat screenings of Gustav Deutsch's FILM IST. A GIRL AND A GUN and the HOLLIS FRAMPTON: HAPAX LEGOMENA programme. Tickets are on sale now.
LONDON FILM FESTIVAL: ARTISTS’ FILM & VIDEO REPEAT SCREENINGS
London BFI Southbank
Thursday 29 October 2009, at 4pm, NFT2
FILM IST. a girl & a gun
Gustav Deutsch | Austria 2009 | 97 min
Taking its cue from DW Griffith via J-L Godard, the latest instalment of the FILM IST series is a five-act drama in which reclaimed footage is interwoven with aphorisms from ancient Greek philosophy. Beginning with the birth of the universe, it develops into a meditation on the timeless themes of sex and death, exploring creation, desire and destruction by appropriating scenes from narrative features, war reportage, nature studies and pornography. The Earth takes shape from molten lava, and man and woman embark upon their erotic quest. For this mesmerising epic, Deutsch applies techniques of montage, sound and colour to resources drawn from both conventional film archives and specialist collections such as the Kinsey Institute and Imperial War Museum. Excavating cinema history to tease new meanings from diverse and forgotten film material, he proposes new perspectives on the cycle
of humanity. The film’s integral score by long-term collaborators Christian Fennesz, Burkhardt Stangl and Martin Siewert incorporates music by David Grubbs, Soap&Skin and others.
Tickets: £7 / £6 concessions
www.bfi.org.uk/lff/node/392
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Thursday 29 October 2009, at 6:30pm, NFT3
HOLLIS FRAMPTON: HAPAX LEGOMENA
Hollis Frampton, a key figure of the American avant-garde, was an artist and theoretician whose practice closely resonates with contemporary discourse. The series of seven films known as HAPAX LEGOMENA is, alongside ZORNS LEMMA, one of his most distinguished achievements, and will be presented in its entirety on new preservation prints. Predating MAGELLAN, the ambitious ‘metahistory’
of film left unfinished by his early death in 1984, HAPAX LEGOMENA traces Frampton’s own creative progression from photographer to filmmaker. It dissects sound/image relationships, incorporates early explorations of video and television, and looks forward to digital media and electronic processes. Though notoriously rigorous, Frampton’s films are infused with poetic tendencies and erudite wit,
sustaining a dialogue with the materials of their making, and the viewer’s active participation in their reception.
‘Hapax legomena are, literally, ‘things said once’ … The title brackets a cycle of seven films, which make up a single work composed of detachable parts … The work is an oblique autobiography, seen in stereoscopic focus with the phylogeny of film art as I have had to recapitulate it during my own fitful development as a filmmaker.’ (Hollis Frampton)
(NOSTALGIA)
Hollis Frampton | USA 1971 | 36 min
As a sequence of photographs is presented and slowly burned, a narrator recounts displaced anecdotes related to their production, shifting the relationship between words and images.
POETIC JUSTICE
Hollis Frampton | USA 1972 | 31 min
A ‘film for the mind’ in which the script is displayed page by page for the viewer to read and imagine.
CRITICAL MASS
Hollis Frampton | USA 1971 | 16 min
Frampton’s radical editing technique disrupts and amplifies the already impassioned argument of a quarrelling couple.
TRAVELLING MATTE
Hollis Frampton | USA 1971 | 34 min
‘The pivot upon which the whole of HAPAX LEGOMENA turns’ uses early video technology to interrogate the image.
ORDINARY MATTER
Hollis Frampton | USA 1972 | 36 min
This ‘headlong dive’ from the Brooklyn Bridge to Stonehenge is a burst of exhilarated consciousness.
REMOTE CONTROL
Hollis Frampton | USA 1972 | 29 min
‘A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.’
SPECIAL EFFECTS
Hollis Frampton | USA 1972 | 11 min
Stripping away content leaves only the frame. ‘People this given space, if you will, with images of your own devising.’
HAPAX LEGOMENA has been preserved through a major cooperative effort funded by the National Film Preservation Foundation and undertaken by Anthology Film Archives, MoMA, the New York University Moving Image Archiving and Preservation Program, and project conservator Bill Brand.
Tickets: £9
www.bfi.org.uk/lff/node/410
at
THE TIMES BFI 51st LONDON FILM FESTIVAL
www.bfi.org.uk/lff
BFI Southbank
Belvedere Road, London, SE1 8XT
Nearest Tube: Waterloo / Embankment
Box office: 020 7928 3232
Book online or in person at BFI Southbank
If all advance tickets for screenings are sold out, keep trying for daily late ticket releases.
Tickets are held back for delegates so it is often possible to get tickets at the last minute, or queue for returns.
'“Ben Callaway’s works are constructed from anonymous, secondary footage taken from a diverse range of documentary, educational, promotional or amateur videos. Ben Callaway stresses the materiality of the medium through different manipulations of the source material: the images are dissolved by repeated analogue transfers, and then reconstructed in digital format, while their speed is also radically altered throughout the process.' Miguel Wandschneider, Curator, Culturgest, Lisbon.
Lichtspiel: Contemporary Abstract Animation and Visual Music