The practice of recycling cinematographic images is almost as old as cinema itself. While it has frequently had a utilitarian, documentary or ideological function, it is also intimately tied to the history of avant-garde cinema since at least the 1930s. While many found footage films and artists associated with the practice are relatively well known, less is known about the nature and provenance of the images that are found and repurposed.
Looking back over a history of one hundred years, experimental cinema has rigorously challenged cinematic conventions. To reach beyond telling stories, artists and filmmakers examined the material conditions of their medium, such as light, motion, celluloid and, with the advent of television and video, electronic signals. This relationship with the technical device—whether a camera or a computer—revolutionized the creative process and opened ever new possibilities for critically reflecting the world we live in.
Friday, September 11, 2020 (All day) to Sunday, January 31, 2021 (All day)
Gregory J. Markopoulos (1928-92) was one of the most original filmmakers to emerge in post-war American cinema. His films, which encompass mythic themes, portraiture and studies of landscape and architecture, are celebrated for their extraordinary creativity, the sensuous use of colour and innovations in cinematic form. By employing complex editing techniques and spontaneous in-camera superimposition, he sought to unlock the mystery and energy contained within the single frame. As a contemporary of Maya Deren, Kenneth Anger and Jonas Mekas, Markopoulos was amongst those at the forefront of a movement that liberated cinema as an artistic mode of expression. Having made his first 16mm film (Psyche) as a student in 1947, he went on to produce several key works of the New American Cinema such as Twice a Man (1963) and The Illiac Passion (1964-67).
Wednesday, October 24, 2018 - 20:00 to Thursday, October 25, 2018 - 19:55