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Past New Releases: Fall 2008

Posted April 22nd, 2010 in New Acquisitions

Dorsky_Sarabande_1

New Releases from the Fall of 2008.


Works now available on DVD by..


Bruce Baillie

Bruce Baillie has just announced the release of his first DVD collection. This collection contains five films and is offered in a limited edition of 100 signed and numbered. This volume includes Tung, Mass for the Dakota Sioux, Valentin de las Sierras, Castro Street, and All My Life. These are newly restored versions of each title.
$50 for home use; $300 Institutions

Number 1 of 100 is being offered to the highest bidder. Bidding starts at $500 and ends on November 30, 2008. Proceeds from this aution will go to a collaborative project that is currently underway. This volume will be a gold DVD containing additional bonuses.


Jon Behrens

The Astrum Argentium

THE ASTRUM ARGENTIUM Is the third film in a series that is being called the Anomalies cycle. It is mostly a hand painted and step printed film. This time I used stained glass dyes and also experimented with photographing growing crystals with time laps cinematography. I also created the sound design for this film. (JB)

2006, 16mm, color/sound, 6 min $45

The Production and Decay of Strange Particles

In this film I began to experiment more with creating mats with liquid latex directly on the film emulsion then bleaching of all the excess image around the latex and using the clear bleached sections of film as a canvas to paint my film poem I used special inks that were custom made just for me called Keneville Dyes I then to re-photograph it all on my beloved JK optical printer. I also created this films sound design.

2008, 16mm, color/sound, 7.5 min $45



Louise Bourque

L’eclat du mal (The Bleeding Heart of It)

2005, 35mm, 1.85 wide screen, stereo sound Dolby SR, 8 minutes, $100



Alexis Bravos

Alexis Bravos (b. 1975, Chicago) is a filmmaker at large. Her films have been shown at festivals and galleries internationally. Working primarily with 16mm film, her work investigates the nature of truth in the areas of biography and autobiography. She is currently a Visiting Professor in the Cinema and Media Studies Department at the University of Hartford.

Poma Granata

Poma granata means “many seeded apple” or pomegranate. I made this piece
as a remembrance of four generations of women in my family. It’s loosely
constructed around disturbing rites of passage, first experiences of
freedom as a young person, and the loss of home. It’s an attempt at
regaining memory through finding the perfect food (in this case an apple
or a pomegranate). My younger sister stands in for me, embarking on a
journey through the city of Chicago, chasing a white rabbit of sorts.
She is given a magical hatbox and becomes connected to a woman from the
past who eventually leads her to the fruit, which will nourish her.

2005-07, 16mm, color/b&w/sound, 9min, $35

The Argonaut

A biography about the nineteenth century writer and explorer Eliza
Farnham. Through voiceover, inter-titles, black space and a subjective
camera, a single event in her life is examined.

2008, 16mm, sound, 10min, $35



Nathaniel Dorsky

Sarabande

Available for rental mid-October

Dark and stately is the warm, graceful tenderness of the Sarabande. (N.D.)

2008, 16mm, color/silent, 18 fps, 15 minutes $85 Rental

Winter

San Francisco’s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal. (N.D.)

2008, 16mm, color/silent, 18 fps, 21.5 minutes $85 rental


Jan Doyle

e motion al stud ees

“On the one hand, emotion is the alchemical fire whose warmth brings everything into existence and whose heat burns all superfluities to ashes. But on the other hand, emotion is the moment when steel meets flint and a spark is struck forth, for emotion is the chief source of consciousness. There is no change from darkness to light or from inertia to movement without emotion.”

(C. G. Jung CW 9i, par. 179)

Working with archetypal anima images from my dreams and within my psyche, I was attempting to project my anima figure as soul, and reveal it’s influences on my emotions, a kind of valuable messenger between my unconscious and my conscious, a connecting link… a veritable Hermes… an animated dance of feminine and masculine.

This film uses early animation techniques, pixilation, time lapse, multi-passes, mattes and plates from Eadweard Muybridge’s Human Locomotion Motion Studies then re-photographs the film with an optical printer to breathe life and transform inertia to movement.

1982, 16mm, b&w/so, 5min $35


Kate McCabe
Sabbia

Sound Design: George Lockwood

Music: Brant Bjork

Photography & Direction: Kate McCabe

Sabbia is a desert trip inspired by the music of Brant Bjork and visualized by Kate McCabe. Evoking the immeasurable desert landscape and old ghosts of a dusty past, the film beautifully weaves together a tapestry of perfect moments and a raw rock-n-roll way of life. As a form of psychedelic documentary, the film explores the musical wilderness of a weird and sexy Southern California wasteland. Sabbia presents the landscape’s vast sense of space and time and like a mirage, reveals the magic of desert music, art, and soul.

The vastness of the deserts, their sweep and scope and giant emptiness waiting to be filled with raw sound, has always been a prominent theme in Bjork’s music, and it finds suitable expression in McCabe’s airy, untethered visualizations of those parts of California where “wasted” describes the landscape instead of the people. Conjuring in bits and pieces everything from Van Sant’s Gerry to Wilfred Thesiger’s Arabian Sands, Bjork & McCabe’s Sabbia crowds the empty desert with sights and sounds that seem not so much natural as inevitable. – Leonard Pierce

2006, 16mm on video, color/stereo sound, 79 mins.

DVD Sale: $20


Tomonari Nishikawa

16-18-4

This film was shot by a still camera with 16 lenses, which takes a
series of 16 pictures within 1.5 seconds, fitting onto 2 normal frame
areas.

The film shows the sense of the event at Tokyo Racecourse, when it was
holding the biggest race of the year, Japanese Derby (Tokyo Yushun).
The excitement of each race lasts 2 minutes and 30 seconds.

2008, 35mm, color/silent, 2 min. 30 sec., $35



Ben Russell

Daumë

“One of the strangest films I have ever seen; its characters come and go as if they’re ‘primitives’ posing for the camera, either obeying or fighting an ethnographer’s controlling eye.” – Fred Camper, Chicago Reader

Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play. Daumë is both ethnography and critique; it is an interrogation into how to represent a place that can’t be represented.

2000, 16mm, b&w/color/sound, 7min, $30

the quarry

On the sides of the quarry, hundreds of giant statues lay strewn about in various states of disrepair. We sat there, at the base of the thing, for hours – our jaws open wide.

the quarry is a silent document of five minutes in the presence of the sublime. This small, quiet 16mm film serves as a testament both to cinema’s failure to reproduce the lived moment and to its success in replacing that moment with one that is equally wondrous.

2002, 16mm, color/silent, 4min, $25

Terra Incognita

A pinhole film, a cheap robot voice, a makeshift history. An explorer’s tale of the unknown part of the world.

Terra Incognita is a lensless film whose cloudy pinhole images create a memory of history. Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.

2002, 16mm, color/silent, 10min, $35

Black and White Trypps Number One

“A night sky fills with light shimmers and flecks, surface markings, heavenly bodies. It’s an ocean, a well, a screen, a mirror, a portal. Blackness/void cluttered by growing ephemera. Dark reaches of outer and inner space gradually sifts through shards of granite and diamonds. The mind races as the material becomes greater and more frenetic, reaching a nearly audibly grinding pitch of excitement, flurry, and instantaneous infinity that ebbs at first and then maintains. Flashes of color emerge or are imagined. Chaotic flickering of dancing peasant girls and violently twisting astronaut helmets. Layers of sea slime over undulating life forms. Bonfires and celebration. Explosions, construction. Holocausts. Primordial ooze, modern civilization. Ages and seconds. Floating heads circle kaleidoscopic bursts of shiny beads. Everything everywhere twists, forces through, transforms into, overlaps everything else. Seashells, snow, jewels, static, planets, mitochondria, trash, leaves. Rings, flowers, stars, hair, ghosts, comets, cartoons, demons. Icebubblesinstrumentscats marblestwigsfireflie spinwheelsinsectscraters.Buzzing.Reeling…..flfkkkkk################################# #################################################################### #Overkill. Birth/ Death. Moment by moment, symmetrical—organized like geometry, like Muslim rugs, like math.”

– JT Rogstad, The International Exposition (TIE)

A psychedelic op-art film that references the traditions of hand-painted Avant-Garde cinema by replacing it with something entirely different. Hypnosis is imminent.

2005, 16mm, b&w/silent, 6 min. 30sec., $30

Black and White Trypps Number Two

“A fine fine example of spaces between existing as objects themselves. A patternistic and memorializing offering to natural totems. Two kinds of reversal at play involving black and white as well as reflection and overlap. These simple elements create a hurried maze of twisting antler branches, twigs, and dissected slices of pure “space.” I can hear the crackling fires, echoing elk calls and frosty despair…” – JT Rogstad, The International Exposition (TIE)

2006, 16mm, b&w/silent, 8 min., $30

Black and White Trypps Number Three

“…a filmic portrait of secular rapture that harks back to the great annunciation canvases of Titian and Caravaggio.” – Michael Sicinski, Green Cine Daily

The third part in a series of films dealing with naturally-derived psychedelia. Shot during a performance by Rhode Island noise band Lightning Bolt, this film documents the transformation of a rock audience’s collective freak-out into a trance ritual of the highest spiritual order.

2007, 35mm, color/sound, 12min., $40

Black and White Trypps Number Four

“Jesus Christ, look at the white people, rushing back. White people don’t care, Jack…” – Richard Pryor

“Divisible stand up comedy from beyond the grave, adjust your set, rabbits ears tuned to the Bardo Plane.” – Mark McElhatten, Rotterdam International Film Festival

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

2008, 16mm, b&w/sound, 10 min. 30 sec., $35

Trypps #5 (Dubai)

“APP APPAP APP APAPPAP APP APP APP APAPPAPAPPAP APPAP APP”

A short treatise on the semiotics of capital, happiness, and phenomenology under the flickering neon of global capitalism.

2008, 16mm, color/silent, 3 min., $25

Workers Leaving the Factory (Dubai)

103 years later, a(nother) remake of the Lumiere Brothers pseudo-actuality film La Sortie des usines Lumière. This time around our factory is a job site, a construction site peopled by thousands of Southeast Asian laborers, a neo-Fordist architectural production site that manufactures skyscrapers like so many cars.

2008, 16mm, color/silent, 8min., $30


Mark Toscano

Mark Toscano is originally from Connecticut. He eventually settled in California, where he didn’t study film. He is a film preservationist for a living. By dealing largely with experimental work in his job, he is both endlessly inspired and periodically demoralized in his own filmmaking. This process began in 2000 when Mark worked for three years as the assistant director of Canyon Cinema.

STEVEN & MAUREEN’S WEDDING – OCTOBER 27, 2007

An experiment in re-ordering one kind of information turned into
something having to do with the power the material has over the maker
once I tried to get another kind of information to conform to that same
order. A set of transparent corrections forced the movie to behave, but
the reckless spontaneity of the footage and the acceptance of my failure
laid bare nevertheless make obvious the foolishness of the endeavor to
begin with.

A home movie of my cousin’s wedding.

2008, 16mm, color/sound, 1.5m, $25


Works now available on DVD

Gary Adlestein

Domestic: Selected Films & Videos 1981-2001

These experimental films and videos were shot in the house, out the window, in the yard, down the road, etc, in the rural Oley Valley (near Reading, Pa.) where I live. They span a little more than two decades and range from super-8 to 16mm blow-ups, to silent and in-camera-edited-sync-sound super-8’s (some of them re-photographed), to more recent videos that are foten layered and image-processed. All of them are hopefully lyrics of high visual intensity that celebrate the expressive potential of the medium they were created in and the simple grace of taking pleasure in seeing and hearing the world (the loss of the which is increasingly threatened in the sad times [2005] we are living through).

Compilation includes the following works:

Shadow Hunting (1981, S-8mm, 2 min. sil.) – exploiting the painterly ‘smear’ quality of undercranked 6 fps projected S-8: Shadow hunts, I follow.

Pie Plates (1980, S-8 to 16mm, 5:44 min) – a John Cage inspired (his work for prepared piano accompanies the visuals) backyard yin/yang, optically printed meditation. (“a lingering impression of harmony using a minimal amount of footage” – Linda Gross, LA Times

Fontana (1988, S-8mm, 4:09 min.) – in the shower: after the grotesque fountains I saw in Rome.

S-8 Diary: Wildwood (1988, S-8mm, 2:23 min.) – a Sunday drive down the Jersey shore and back which we often did when Linda’s parents (from Wildwood) were alive.

Cinesongs for Storm De Hirsch (1990, S-8mm, 10:55 min.) – homage to one of the pioneers of experimental S-8, Storm De Hirsch; seasonal images arising and fading simultaneously (shown in MoMA’s “Big as Life: An American History of 8mm Films” program).

Oley (1993, Hi-8 video, 10 min. sil. & sound) – harvest time in Oley Valley.

Witchway (1995, Hi-8 video, 7:12 min. sil. & sound) – under the feedback spell of an Oley spirity and her familiar. (“…deftly uses themes from Penna. folklore to create a powerfully haunting and chilling descent into an autumnal netherworld.” – Albert Kilchesty.)

Outside In (1995, Hi-8 video, 8:50 min.) – an interior/exterior domestic meditation.

Lotus Song 2 (2000, mini-DV, 6:47 min.) – the second part of the life-cycle of a Lotus and its surround; a song of natural artifice.

Imaginary pond with real frogs (2001, mini-DV, 8:44 min.) – after Marianna Moore’s definition of poetry as “the art of creating imaginary gardens with real toads.”

Sonata (2001, mini-DV, 3:27 min., sil.) – visual music to “soothe the scythe” (Ed Sanders); a reaction to 9/11.

DVD Sale, $75 Home use; $100 Institutional use.

Italia: Experimental Films and Videos 1980-2005

A selection of short experimental films and videos shot in Italy spanning a period from 1980 through 2005. Some are intuitive, edited-in-camera, reactions to what I was experiencing: others are frame-by-frame (JK optical printing) reconfigurations of the image or, in the videos, layered and image-processed compositions. All are lyric celebrations of a place, art and culture that I love. (G.A.)

Compilation includes the following works:

Saint Teresa (1983, 16mm, 4:50 min.) – after Bernini’s “Ecstasy”; baroque excess and dazzle; shot in super-8 at SM della Vittoria, Rome; re-composed in 16mm on the JK.

Embarkation to Capri (1980, super-8mm, 2:04 min.) – a single shot lyric; the pleasure seekers depart (after Watteau and Fellini). “A particular favorite of mine.” – Tom Chomont

Verona (1989 super-8mm, 3:11 min.) – one of a series of edited-in-camera, sync-sound, place lyrics that I was shooting in the late ’80s.

Taormina/Etna (1996, super-8mm to Hi-8 video, 6:53 min.) – a land and seascape of exquisite beauty pulsing with life and the promise of death.

Sicilia (1999, mini-DV, 4:20 min.) – meditation on life and death in the Catacombs of Palermo and, on the island of Motya, in the presence of a 5th century BC Greek Statue unearthed in the 1970s. (DIrector’s Citation, Black Maria Film & Video Festival).

Nocturne (2003, mini-DV, 4:20 min.) – video diary: midnight under a full Venetian moon.

Graffito (2003, mini-DV, 2:55 min.) – tracing a swirling arabesque at the heart of Venetian art and design. (Athens Int’l Film Festival; Three Rivers Film & Video Festival)

Apollo Dreaming (2004, mini-DV, 3:30 min.) – through the oculus of teh Pantheon, Apollo dreams the future of Rome. (DIrector’s Citation, 24th Black Maria Film & Video Festival)

San Marco Subaqueo (2005, mini-DV, 4:45 min.) – the bejeweled Adriatic Queen succumbs to the coppery depths of the sea.

Bava Bytes (2005, mini-DV, 10:40 min.) – fractured Mario Bava trailer pics mixed in a delirious giallo tribute to maestro Bava, Christopher Lee and Eva Bartok.

DVD Sale, $75 Home use; $100 Institutional use.

Takahiko iimura

Performance /Myself (Or Video Identity)

With Takahiko iimura and Akiko iimura.

Collection of video performance, 1972-1995, 7 pieces, total 29min.

This DVD is produced with “myself” as the sole object as well as the material of the performance except two videos with Akiko iimura. The video is not just a document of the performance but a work of video-art made specifically for video utilizing the video system including camera and monitor as a part of the performance. The video also questions the identity of oneself in video having tense relationships between words and images, and asks who is “I” and what “I” means. The videos assembled are:

  • Self Identity (1972, 1 min. extract)
  • Double Identity (1979, 1.5 min. extract)
  • Double Portrait ( 1973-1987, 5 min.)
  • I Love You (1973-1987, 4.5 min.)
  • This Is A Camera Which Shoots This (1982-1995, 5 min.)
  • As I See You You See Me (1990-1995, 7 min.)
  • I Am A Viewer, You Are A Viewer (1981, 4 min.)

In the first, “Self Identity” , I said in front of the camera, “I am Takahiko iimura,” and “I am not Takahiko iimura,” alternately. Does it sound like a ZEN-MONDO, a question and answer session of Zen monks? Yes, and no. The key of the piece is the former announced the voice synchronized with the picture and the latter without synchronization, the voice only. Next “Double Identity” is set in a similar context with a monitor, and the same person outside the monitor both in frontal view. They both claim “I am T.I.”, then yield to each other, at the end both denying the identity themselves. It is subtitled “On turning the Double Negative to the Positive.” It suggests only the viewer get the positive, not the person in the picture who is not able to hear what the other said. “Double Portrait” and “I Love You” are a paired piece with Akiko iimura. Both iimuras play individually as well as a unit. In “Double Portrait” they are never together, but one by one in three points of view, front, side, and back, assigned to the words “I”, “You” and “He”/”She” respectively. They identify their own name positively and negatively one after the other. The pronouns rotate with every repetition, for instance, in front view with “You,” then “He / She” and back to “I”. Often the words are destroyed acoustically making them unintelligible. Are you confused? If you’d take a look, you’ll see what I mean. “I Love You” is not a style of confession, but the words, and is a linguistic practice using a sentence ” I love you” shifting the pronouns, (as it was called “Shifter” by linguist Roman Jacobson) both the subject and the object, according to who speaks to whom in the picture. The reverberating effect in the sound multiplies the words crossing over the words between them and dubbing the voice over male to female or vice versa. Two other companion pieces are “This Is A Camera Which Shoots This” and “As I See You You See Me”. Both are set up facing two cameras and monitors and the performer walks between them while voicing the sentence. Here the words “This” and “You” have the same form in the nominative and the objective cases, switching the case, not only the signifier (word) but also the signified (object).In the last, “I Am A Viewer, You Are A Viewer”, made in film, the performer plays the double role of the performer and the audience simultenously, talking to his own shadow. At the end the performer suggests the audience move into the light to see themselves in shadow. (T.I.)

1972-1995, DVD Sale; $70 Home use, $300 Institutional use

For Filmic Meditation

  • In the River, 1969-70, 16mm, color, 12 min.
  • “Iimura used the process of re-photography, but in this instance, the screen was the tiny viewer of a 16mm editor. Using various camera speeds and in-camera superimpositions, Iimura analyzed some footage he had made in Katmandu of a man taking a bath in a sacred river. The finished film develops an interesting parallel between the man’s careful bathing as the river flows past and Iimura’s careful analysis of the man’s physically simpler activities as the film flows through the camera.The spiritual illumination the man receives is reflected by the mandala-like circular illumination created by the flickering light of the 16mm viewer. A meditational experience is, thus, presented in a film whose minimal action and quiet pace can create meditational possibilities for viewers.” -Scott MacDonald

  • Shutter, 1971, 16mm, b&w, 30 min, Music by Keijiro Satoh”Using two projector speeds and various camera speeds, he photographed the light thrown onto a screen by a projector with no film running through it. Because of the disparities between the speeds of the camera and projector shutters, the resulting footage, which he printed first in positive, then in negative, creates a series of flicker effects which are even more powerful.” -Scott
    MacDonald

I hope you could re-experience through these two films in which I found that a perception in film comes through silent meditation from the experience of the memory of a man in sacred river in katmandu and the hallucination of flickering lights. (T.I.)

1969-2007, DVD sale: $60 Home use; $300 Institutional use.

On Time in Film/DVD

Time is, as it has been said by John Cage on music, the most important issue on film. (T.I.)

“In concentrating on this set of problems, often wrongly seen as ‘minimalist,’ Iimura went much, much further than any other film artist in exploring a kind of art-science. This concern with the experience of time, its measured passage and the analogy between time and space, has been the main recurring theme at the centre of his work.” – Malcolm Le Grice (author of “Abstract Film and Beyond,” MIT Press)

  • 24 Frames Per Second, 1975-78, 16mm, b/w, 11min.
  • Times 1, 2, 3 (from Models, Reel 1), 1972, 16mm, b/w, 10min.
  • One Frame Duration, 1977, 16mm, b/w & color, 11min.

1975-2007, DVD sale: $60 Home use, $300 Institutional use.

Elizabeth Sher

What’s Inside these Shorts?: The Short Films of Elizabeth Sher

Including: Juggling, Beat It, The Training, Wash It, and much more.

DVD Sale: $40 Home use, $150 Institutional use.

I.V. Magazine, Volume #1

I.V. MAGAZINE is the perfect comeback to the white-bread blandness of
network TV magazines. This wide-ranging pastiche of interviews,
humor, satire and music opens with Sally Webster (of the Mutants)
fumbling for a video fix. Next an interview with a policewoman is
punctuated by her target practice on the firing range; a peep behind
the scenes at “Fantasy Phone Call Service” and fashion mutilation set
to John Gullak’s industrial score in “Razor Ribbon.” View the world
through the lurid eyes of a shoe fetishist; chill to post-nuke
delights; submit if you dare to Flipper’s “Brainwash” music – and
more.

“I.V. MAGAZINE keeps you off balance … a very welcome sign in times
when the rewards go to those who play it safe.” – St. Louis
Post-Dispatch

1984, DVD, color/so, 60m, $45

I.V. Magazine, Volume #3

The latest edition of I.V. MAGAZINE – INFORMATION FOR PEOPLE WHO CAN TAKE IT STRAIGHT. This full-scale invasion into the computer age is semi-conducted by that heart-of-gold, brain-of-silicon, megahostess – MacDonna. View kiddie beauty pageants; tips for handypersons and upscale house hunters; the whimsy of computerized martial arts; an octogenarian who swears that “work makes young.” The satire bites in an English “industrial music video” set to the tune of tearing velcro and FIND IT, a computer-animated frenzy in a dumpster with internationally acclaimed mime, Arina Isaacson, and the dog-gonest genie ever – and even more.

“This edition of I.V. MAGAZINE should blaze the trail for the penetration of art into the great American psyche.” – Jonathan Formula

1986, DVD, color/so, 60m, $45

Walter Ungerer

Ungerer: A Four Volume Collection

VOLUME ONE includes:

THE TASMANIAN DEVIL (1965)

MEET ME, JESUS (1966)

A LION’S TALE (1968)

THE MAN WITH THE UMBRELLA (1973)

I ANNA, I THREE (1989)

EIN SONNIGE UND RUHIGE LAGE (1991)

This is a collection of early experimental shorts shot on 16mm film except I, ANNA, I THREE, which was shot on 3/4 inch Umatic SP, and EIN SONNIGE UND RUHIGE LAGE, shot on VHS. THE TASMANIAN DEVIL is a documentary about the auto drag racing team of George Snizek and Charlie Dodge from Oceanside, Long Island, New York.


VOLUME TWO
includes:

BIRDS 2/93 (1993)

ANNA’S AMAZING MOVING ANIMALS (1994)

A WARM DAY COMES AFTER A COLD WINTER (1995)

RELATIVES IN X, Y & Z (1996)

THE WINDOW (1997)

ONCE A YEAR FOR SEVEN DAYS (1998)

LUNCH WITH CLARA (1998)

DON’T MIND THE MAN WITH THE CAMERA

This is a collection of more recent experimental shorts all shot on VHS, Mini-DV or created in the computer; where they were edited and manipulated with various computer software programs.


VOLUME THREE
includes:

UNTITLED 2.1.2 (2002)

THE AWAKENING (2002)

LESLEY’S SONG (2003)

91 LE GRAND (2005)

These are four films using vastly different styles. Untitled 2.1.2 uses abstract, hardly recognizable shapes and colors to create a person’s emotions as they experience tension and chaos. THE AWAKENING is shot in a straightforward almost documentary style to convey a person’s spiritual birth. LESLEY’S SONG mixes direct recording with fractured, contorted computer altered imagery. 91 Le Grand is a time-lapse recording from dawn to evening over several months of a winter, as seen from the interior of Ungerer’s home.


VOLUME FOUR
includes:

RANDOM BITS OF UNKNOWN SIGNIFICANCE (2007)

A WEEK IN NORTHERN GERMANY (2007)

These are two films shot with an inexpensive digital still camera capable of shooting shot video bursts. The inobtrusiveness of the camera afforded Ungerer the opportunity to record unguarded moments in people’s lives, while he was on a trip to England, Germany, and Switzerland in 2006. The result was RANDOM BITS OF UNKNOWN SIGNIFICANCE. Using the same camera, A WEEK IN NORTHERN GERMANY was shot in November of the following year while Ungerer was touring northern Germany doing film presentations.

1965-2007, DVD Sale $20 Home use, Institutional use, please inquire.