Wheeler Winston Dixon has been making films since the 1960s, in addition to writing numerous books, and has had screenings at The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, Filmhuis Cavia (Amsterdam), Studio 44 (Stockholm), La lumière collective (Montréal), The BWA Katowice Museum (Poland), The Microscope Gallery, The National Film Theatre (UK), The Jewish Museum, The Millennium Film Workshop, The San Francisco Cinématheque, The Maryland Institute College of Art, The New Arts Lab, The Collective for Living Cinema, The Kitchen and elsewhere. In his first Los Angeles show, he screens some of his more recent work in digital video.
Filmforum hosts filmmaker, cultural theorist, and film and digital historian Wheeler Winston Dixon for his first-ever screening in Los Angeles! Based in Nebraska, and most known as a writer, Dixon has been producing eye-opening films and videos since the late 1960s. The program will include a pair of his earlier films, Serial Metphysics, “an examination of the American lifestyle recut entirely from existing television advertisements” (Joshua Siegel) and Stargrove, a dense collage work. We’ll be featuring a wide array of his digital work of the past four years, a remarkable array of digital manipulations of appropriated footage to produce works of social and aesthetic reflection, using technological means to critique the technological and consumerist obsessions of today.
These 8 films approach loss and lineages through experimental visual strategies that document rebirths and Queer utopic visions. Calling out a shared invitation to a then and there, leaving behind and moving towards a Queer sublime, the diverse strategies in these films weave together a step out of harm and endings in this time, to something fuller, vaster, and more beautiful. Curated by Finn Paul.
Ariana Gerstein joins us from New York to present her remarkable animations and experimental films, often using imagery created from scanners. “The tactile films of Ariana Gerstein reconcile her fascination with filmic materiality with the soft ephemeralities of light, time and memory. Using complex hand-wrought editing methods and extensive optical printing Gerstein’s work dazzles in its visual complexity and rhythmic timing.
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.