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by Al RAZUTIS
1979 / 16mm / b&w / sound / 1S / 7' 30 |
The subject of the first essay is cinema itself: an apparatus of representation wherein fact and fiction are recreated. As such, the pro-filmic facts are necessarily drawn from two of cinema's "pioneers": Louis and Auguste Lumière and Abel Gance ( La Roue, ), with additional material provided from a Warner Brothers featurette, Spills for Thrills.
The exposition and form of the film is closely tied to the tradition of cine-structural poems which foreground the materials of the medium (light, dark, form as shadow-projection of the cinematic apparatus). Using alternations between positive and negative, the film chronicles the "coming to life" (of the apparatus) and the resulting action/movement and documentation of events - encompassing incidents (the near mishaps), human expectations (the arrival at the station), and human spectacle(the destruction of the trains, the station in chaos). Towards this purpose, I have used an expanding narrative, a play on the title itself, and the shifting conditions of synchronous and asynchronous sound/image (and image-to-image). (A.R.)
Awards: Ann Arbor; Kent State; Baltimore film festivals.
Individually featured in international exhibitions, retrospectives.
In the collection of the National Gallery of Canada
http://www.alchemists.com/visual_alchemy/film_visess.html
| distribution format | 16mm |
|---|---|
| screen | 1,37 - Standard (single screen) |
| speed | 24 fps |
| sound | optical sound |
| rental fee | 30,00 € |
| distribution format | 16mm |
|---|---|
| screen | 1,37 - Standard (single screen) |
| speed | 24 fps |
| sound | optical sound |
| rental fee | 30,00 € |