Saturday, March 17, 2018


Due to a past storm, this program has been rescheduled to March 28th, 2018. 


WHO DO YOU THINK YOU ARE (dir. Mary Filippo, 1987, 10 min.)

“In WHO DO YOU THINK YOU ARE I talk about wanting to be a hero and show myself passive and inactive. I've used cigarette smoking and the "heroes" presented in cigarette commercials to suggest that advertising has transformed my desire to act heroically into cigarette consumption. That this particular consumption is self destructive and addictive is important since I want to suggest a link between self destructive behavior and my inability to "be a hero." The film is a collage of my own footage, "found" cigarette commercials and images filmed from television.” - Mary Filippo

DEPARTMENT OF THE INTERIOR (dir. Nina Fonoroff, 1986, 8.5min)

I had been thinking about the nature of "echo," as both an acoustical and visual phenomenon. I had hoped to defamiliarize material which seemed to adhere to the demand for wholeness. My aim was not to "represent" or "express" a particular state of mind or emotion, but to endeavor to generate a set of possibilities for new connections between sensory experience and the experience of meaning.” - Nina Fonoroff
THE ACCURSED MAZURKA (dir. Nina Fonoroff, 1994, 40 min.)

Obsessive journal entries, clinical reports, varied sources of music, and a series of watercolors depicting a pierced and bleeding brain are among the many elements that make up a narrative around the occasion of mental breakdown. Instruments of electrical transmission are metaphors for the diseased brain, as reconstructed by a woman who has lost her reason, her body, and her foothold in personal identity. The unseen protagonist at first attributes her illness to repeated hearings of a Chopin mazurka on the radio. Radio static, a telephone switchboard gone awry, a woman imagistically redoubled playing the accordion become points of departure for a rant situated in the remembrance of a mental state so extreme as to make impossible any attempt at representation. Like an overwound mechanism, her account is eclipsed by images and sound that derail the story's trajectory. The reports of a series of practitioners on the patient's symptoms and "progress" reveal the ineffectuality of conventional mental health treatment while the patient offers hyperbolic excesses in describing her experience. On the road to recovery, she searches for possible causes for the lapse of sanity. Her provisional understanding makes reference to a 1963 home movie of her family dancing on the lawn of their house: "It is not for me to ransack scenes of the past for clues or explanations ... so, let these people dance in place ... they have done nothing wrong ... there is no culpability to be found among these shadows."

Total Run Time: 58.5 minutes


(WHOLE NOTE, 2000)


BREAKING TIME (Parts 1-4) (1983, dir. Saul Levine, 51 min)
 "In the fall of 1977, I returned to the New Haven area to live with my parents and aunts after being unemployed for a year. I resumed working in my father's gas station and small used-car lot as both a service attendant and driver of cars between New York and New Haven. BREAKING TIME is a four-part work made up of four separate films on three reels. Each film is a complete work itself and may be shown separately. I feel that together they make a different work.

The return to my home allowed me to look back on the working people and places of my childhood with the eyes of an adult. It was a continual struggle to make a past present and I was only able to complete [the series] after I left the area. The work also reflects my experiences in the past working as a traffic surveyor and the automotive and petroleum base of the culture I grew up in." - Saul Levine

1 - MORTGAGE ON MY BODY (1978-1983, 23 min)
Stations throughout Connecticut and even New York City. Riding around with my father and back to the gas station.

2 - ARRESTED (1977-1983, 4 min)
Mainly a portrayal of my father, the blizzard of 1978 and the summer and spring.

3 & 4 - LIEN ON MY SOUL and PORTRAIT NOT A DREAM (1978-1983, 21 min)
LIEN ON MY SOUL is a cityscape of New Haven shot from an East Rock park. Includes the 4th of July, a wedding, lovers, bikers, kids - an ecological meditation.

PORTRAIT NOT A DREAM: My mother's cry of rage.

WHOLE NOTE (2000, dir. Saul Levine 11 min)
A portrait of my father in the last days of his life. "Nothing is as whole as a broken heart" - Hassidic saying.

Total Run Time: 62 Minutes



Perils (1986, dir. Abigail Child, 5 min)
Perils is a homage to silent film—the clash of ambiguous innocence and unsophisticated villainy—dramatizing the theatrical postures of melodrama to confront and examine our ideas of romance, action, and drama. Child says, “I had long conceived of a film composed only of reaction shots in which all causality was erased. What would be left would be the resonant voluptuous suggestions of history and the human face.” Charles Noyes and Christian Marclay constructed the sound montage from Warner Brothers cartoons and improvisations.

Film About A Woman Who (1974, dir. Yvonne Rainer, 90 min)
Rainer's landmark film is a meditation on ambivalence that plays with cliche and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger.

Total Run Time: 95 Min

Sunday, February 18, 2018


Unfortunately, the print of New York Eye and Ear Control was unavailable and was rescheduled to 3/21/18.


THE EXILE (1931, dir. Oscar Micheaux, 93 min.)

THE EXILE is a 1931 American film by Oscar Micheaux with the co-direction of the Dances and Ensemble by Leonard Harper. A drama–romance of the race film genre, it was Micheaux's first feature-length talkie, and the first African American talkie. Adapted from Micheaux's first novel, The Conquest (1913), it has some autobiographical elements: like the film's central character Jean Baptiste (played by Stanley Morrell), Micheaux spent several years as a cattle rancher in an otherwise all-white area of South Dakota.

BLOOD OF JESUS (1941, dir. Spencer Williams, 57 min.)

American race film written by, directed by, and starring Spencer Williams. It was also released under the alternate title of The Glory Road. The Blood of Jesus was the second film directed by Spencer Williams, who was one of the few African American directors of the 1940s. The Blood of Jesus was produced in Texas on a budget of US$5,000. To present the afterlife, Williams used scenes from a 1911 Italian film called L’Inferno that depicted souls entering Heaven. In addition to Williams, the cast was made up of amateur actors and members of Reverend R.L. Robinson’s Heavenly Choir, who sang the film’s gospel music score. The Blood of Jesus was screened in cinemas and in black churches. The film’s commercial success enabled Williams to direct and write additional feature films for Sack Amusement Enterprises, including two films with religious themes: Brother Martin: Servant of Jesus (1942) and Go Down Death (1944). For years, The Blood of Jesus was considered a lost film until prints were discovered in the mid-1980s in a warehouse in Tyler, Texas. Filmmaker Julie Dash cited the baptismal sequence in The Blood of Jesus as the inspiration for a similar scene from her 1991 feature film Daughters of the Dust. In 1991, The Blood of Jesus became the first race film to be added to the U.S. National Film Registry.

Total Run Time: 100 Minutes

Saturday, February 17, 2018

2/14/18 LOVE AND ...


Un Chant d’Amour (1950, dir. Jean Genet, 26 min)
Novelist Jean Genet’s only directoral credit, Un Chant d’Amour tells the story, set in a prison with three main characters, a guard and two prisoners, is a voyeuristic, confrontational, poetic masterpiece. “A Song of Love” when translated to english, was long banned in France, and only available in the US through a censored version, the film is now a cult romance classic.

You Take The Escalator, I’ll Take The Stairs (2017, dir. Evan Greene, 13min)
There is no description.

Sanctus (1990, dir. Barbara Hammer, 20 min)
Sanctus is a film of the rephotographed moving x-rays originally shot by Dr. James Sibley Watson and his colleagues. Making the invisibile, visible, the film reveals the skeletal structure of the human body as it protects the hidden fragility of interior organ systems. Sanctus portrays a body in need of protection on a polluted planet where immune system disorders proliferate.

Fuses (1967, dir. Carolee Schneemann, 22 min)
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.

Total Run Time: 83 Minutes

Friday, February 2, 2018

2/7/2018 XY CHROMOSOME: Films by Lynne Sachs and Mark Street


Sliding off the Edge of the World,
by Mark Street, 7 min, 16mm (from 35mm), 2000
Time slows down and silence envelops a series of quotidian moments snatched from transience. The frame line is always moving, and images are stacked like nesting dolls.

Same Stream Twice
by Lynne Sachs, 4 min, 16mm b&w and color on digital, 2012
My daughter’s name is Maya. I’ve been told that the word “maya” means illusion in Hindu philosophy. In 2001, I photographed her at six years old, spinning like a top around me. Even then, I realized that her childhood was not something I could grasp but rather – like the wind – something I could feel tenderly brushing across my cheek. Eleven years later, I pull out my 16mm Bolex camera once again and she allows me to film her – different but somehow the same.

And Then We Marched
by Lynne Sachs, 3 min, Super 8mm on digital, 2017
Filmmaker Lynne Sachs shoots Super 8mm film of the Jan. 21 Women's March in Washington, D.C. and intercuts this footage with archival footage including early 20th Century Suffragists marching for the right to vote, 1960s antiwar activists, and 1970s advocates for the Equal Rights Amendment.
Carolee, Barbara & Gunvor
by Lynne Sachs, 8 min, Super 8mm and 16mm film transferred to digital, 2018
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.

Vera Drake, Drowning
by Mark Street, 3 min, digital, 2012
A theatrical trailer buried in the garden for several years.  The vagaries of nature (snow, rain, ice, sun) yield a scrupulous document of the passing of time. Soundtrack made up of ambient musique concrete and snippets of music sung by women.
by Mark Street, 6 min, digital, 2018
Painting and bleaching a Dutch/French 35mm film to divulge haunted layers of psychological complexity.

After Synchromy
by Mark Street, 6 min, digital, 2015
An homage and reimagining of Norman McLaren's 1971 film leavened by a cascade of daily quotidian still photography.

by Mark Street, 7 min, 16mm film, 1989
From an educational film about the farming cycle; a red sky vision emerges from between the tractor blades.

Drift and Bough
by Lynne Sachs, 7 min, Super 8mm, 2014.
“I spent a morning in Central Park shooting film in the snow. The stark black lines of the trees against the whiteness created the sensation of a painter’s chiaroscuro, or a monochromatic tableau-vivant. When I held my Super 8mm camera, I was able to see these graphic explosions of dark and light.” (LS). Music by Stephen Vitiello

Starfish Aorta Colossus
by Lynne Sachs with Sean Hanley, 5 min, 2015
Poetry watches film. Film reads poetry. Paolo Javier’s text is a catalyst for the digital sculpting of an 8mm Kodachrome canvas. Syntactical ruptures and the celebration of nouns illuminate twenty-five years of Lynne's rediscovered film journeys.
The X Y Chromosome Project
by Lynne Sachs and Mark Street, 11 min, 2007
In addition to our two daughters, we make films and performances that use the split screen to cleave the primordial and the mediated.  After returning from an inspiring week long artist retreat at the Experimental Television Center, Lynne asked Mark to collaborate with her on the creation of a piece in which they would each ruminate on the other’s visual, reacting in a visceral way to what the other had hurled on the screen. Lynne would edit; Mark would edit. Back and forth and always forward.  No regrets or over-thinking. In this way, the diptych structure is sometimes a boxing match and other times a pas de deux.  Newsreel footage of Ronald Reagan's assassination attempt is brushed up against hand painted film, domestic spaces, and Christmas movie trailers. Together, we move from surface to depth and back again without even feeling the bends.  

Total Run Time: 67 Min

Bio: Since 2008, filmmakers Lynne Sachs and Mark Street have been showing some of their films together in an attempt to uncover connections and dissonances, pitting the x against the y, the magenta against the green, the hard edged against the ephemeral.  Tonight they present 11 short films (including one they made together) created over the last 25 years.  Loose themes and affinities will unspool-- chimerical traces of their children, women's voices amplified on the screen, quotidian diaristic effusions, found footage movies reimagined, weather as an apocalyptic (bell)weather and finally, the frame as a shifting, malleable grid.


Daughters of the Dust (1991, dir. Julie Dash)
At the dawn of the 20th century, a multi-generational family in the Gullah community on the Sea Islands off of South Carolina – former West African slaves who adopted many of their ancestors’ Yoruba traditions – struggle to maintain their cultural heritage and folklore while contemplating a migration to the mainland, even further from their roots.

The first wide release by a black female filmmaker, “Daughters of the Dust” was met with wild critical acclaim and rapturous audience response when it initially opened in 1991. Casting a long legacy, “Daughters of the Dust” still resonates today, most recently as a major in influence on Beyonce’s video album “Lemonade.” Restored (in conjunction with UCLA) for the first time with proper color grading overseen by cinematographer AJ Jafa, audiences will finally see the film exactly as Julie Dash intended.

Total Run Time: 118 Minutes

Bio: Julie Dash (born October 22, 1952) is an American film director, writer, producer, website creator and music video and commercial director. Dash received her MFA in 1985 at the UCLA Film School and is one of the graduates and filmmakers born out of a time known as the L.A. Rebellion.

Tuesday, January 30, 2018



Bless Their Little Hearts (1983, dir. Billy Woodberry)
Unemployed, depressed and running out of options for supporting his wife and three children, Charlie Banks (Nate Hardman) is just barely eking out a living in the Los Angeles neighborhood of Watts in the early 1980s. His wife, Andais (Kaycee Moore), accuses him of irresponsibility, and even of cheating on her, an allegation that isn't true until Charlie decides it may as well be. Charlie's friends try their best to help him get by, but their well-intentioned plans don't always pan out.

Total Run Time: 80 Minutes

Bio: Billy Woodberry is one of the leading directors of the L.A. Rebellion (also known as

the Los Angeles School of Black Filmmakers). Woodberry was born in Dallas, Texas. In the 1970s, he enrolled at the UCLA Film School, where he produced and directed his earliest films.

Monday, December 11, 2017

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This collection of films investigates the formal principles of abstract cinema while maturing an interest in found materials, evolving modes of production, forms of labor, and the role of decoration in daily life. Prodding at hierarchies of aesthetic value and the tension between high and low, these works question the role of abstract animation in a post-psychedelic climate. Merch tables meet museum gift stores. The sublime meets Sublime the band. Rippling head shop tie dyes and dollar store gift bags form ebullient spectacles from resurrected dead capital and banal everyday objects. These stroboscopic eulogies – celebrating the spectrum of abstraction from transcendent visual experiences to science kit optical fascinations – force a proscenium collision of the arena rock show, the planetarium light performance, and the cinema.

New Fancy Foils
12.5 min, 16mm, color, silent
Paper sample books discarded and dumpstered by long-gone businesses undergo a series of sequential experiments in pattern, rhythm, color, and text(ure). A call and response of flickering and lingering, this catalog of catalogs remembers a tactile economy.

Undertone Overture
10.5 min, 16mm, color, sound
A study of tie dye swims out to the cosmos and back again.

Dusty Stacks of Mom: the Poster Project
41 min, 16mm, color, sound- LIVE PERFORMANCE
Interweaving the forms of personal filmmaking, abstract animation, and the rock opera, this animated musical documentary examines the rise and fall of a nearly-defunct poster and postcard wholesale business; the changing role of physical objects and virtual data in commerce; and the division (or lack of) between abstraction in fine art and psychedelic kitsch. Using alternate lyrics as voice over narration, the piece adopts the form of a popular rock album reinterpreted as a cine-performance.

Glistening Thrills
8 min, 16mm, color, sound
A shiny otherworld of holographic reverie pairs dollar store gift bags and haunting resound, unfolding an effervescent melancholy in three parts. Featuring compositions for bowed vibraphone by Elliot Cole.

Let Your Light Shine
3 min, 16mm, color and b/w, sound- REQUIRES GLASSES
The ultimate photo-kinetic stroboscopic spectacle for spectacles. (Requires prismatic glasses.)

About JM:
Jodie Mack (born 1983; London, UK)
Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007 and currently teaches animation at Dartmouth College. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. Questioning the role of decoration in daily life, the works unleash the kinetic energy of overlooked and wasted objects.
Mack's 16mm films have screened at a variety of venues including the Images Festival, Ann Arbor Film Festival, Rotterdam Film Festival, Edinburgh International Film Festival, and Views From the Avant Garde at the New York Film Festival. She has presented solo programs of her work at venues such as the Anthology Film Archives, Los Angeles Filmforum, REDCAT, and the BFI London Film Festival. She has also worked as a curator and administrator with Dartmouth's EYEWASH: Experimental Films and Videos, Florida Experimental Film and Video Festival, Portland Documentary and Experimental Film Festival, Eye and Ear Clinic, Chicago Underground Film Festival, and The Nightingale. She was a featured artist at the 2011 Flaherty Seminar, and she’s the 2013 recipient of the Marion McMahan Award at the Images Festival.

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Tuesday, December 5, 2017


A new experimental documentary feature utilizing the life of Emma Goldman to explore the resurgence of protest in the 21st century. The work is hybrid and prismatic, including contemporary footage, archive and re-enactment to expose the continuing conflicts between labor and property, revolutionary purity and personal freedom.
The film performs a time travel, intercutting moments from Emma’s life with her prescient speeches, weaving industrial era factory labor with computer data centers with Emma’s intimate diaries—to explore human vulnerabilities, compromises and choices. Known as the “most dangerous woman alive,” Emma was also passionate and sexual; beauty/art/humor part of the freedoms for which she was fighting. The film creates a dialogue on individual liberties and anarchism: how we risk and how we are compromised? Questions that have become only more relevant in our current political climate.
Director's Statement:
"The film is the second in my Trilogy of Women and Ideology. Each part asks: How Ideologies fail women? What do we give up in our struggle to be more than 'merely female? The first in the trilogy, UNBOUND, retells the story of Mary Shelley, examining 19th century Romanticism through “imaginary home movies” shot in Rome. This second film explores Emma Goldman and Anarchism, shot in New York City, in a series of non-hierarchical fragmented ‘memory’ chapters. The work’s structure is influenced by films as diverse as 32 Short Films About Glenn Gould and Hollis Frampton’s Surface Tension. The third part of the Trilogy will explore Science in the 21st century, focusing on virtual women and androids." -Abigail Child, January 2017

Wednesday, November 29, 2017

Fall 2017 Schedule

                           HARLAN COUNTY Barbara Kopple

                             ZOOT SUIT Luis Valdez

SEPTEMBER 20 Paul Clipson in person



MERCY Abigail Child



OCTOBER 25 Alison Folland

(please note we will start exactly an 800pm)

November 8 AFTER THE FIRE IS GONE Cate Giordano

NOVEMBER 15 Maya Deren from our collection

NOVEMBER 27 Julie Murray

DECEMBER 6 Abigail Child (Emma Goldman feature)

DECEMBER 13 Jody Mack

Tuesday, November 28, 2017

11/27/17 Julie Murray

FF (Fuckface)
(1986) Super 8 to digital sound, 10 mins
FF is put together in such a way as to generate miniature, almost instantaneous fictions, confined and numerous, where meaning can occur between the frames as much as it might in the frame. While the movements and the pace of the film suggest relentlessness and insistent control, the assembly of images serve to illustrate a nervous breakdown of the characters represented as their actions, forced into repetitions, lose their original expression. The original condition of the found footage (damaged, scratched, etc.) and the method and process of rephotographing it are intended to be as much a vital part of the film as is the content re-represented. (FF is originally known as Fuck Face).


(2004) 16mm, sound, 15 mins
(a description is in the form of a question posed)
“Deliquium feels like a very personal work, though it deploys not untypical collage collisions, marrying moments of the natural world (speared fish, floating seahorses, fallen trees and blue butterflies) with human designs (artificial snow, divers, boats, but most often: men at work in factories). The natural world is fallen and speared and fragile, while manufactured landscapes turn humans into factory products. Into this mix there are photographs which struggle to be seen, negatives and home movies which blink in and out of darkness, delivering a sense that you are recalling a family here, that the factory workers have familiar names, that you are describing a generational struggle. Are you telling your story by showing us the work of others?“
-Mike Holboom

Frequency Objects
(2014) Digital, sound, 5 mins
Frequency Objects combines negatives of old family photographs, found fragments of movie film, and photograms of objects’ shadows, all strung together on a reel and observed with a video camera in a stop/start procedure. This “bench winding” technique (a routine method in filmmaking for locating shots) allows a chance element to play in the catching sight of image fragments; souls half in and half out of the frame, things out of focus, carefully staged shots, faces known and unknown, suddenly happened upon, all in a run-on train of exposition in re-animation. The weave pattern is silk fabric 'photogrammed" producing a to-scale shadow of itself.

Untitled (earth)
(2015) Digital, sound, 10 mins
Untitled (earth)is a rhythmical-graphical treatment of 35mm film material that destabilizes the narrative form. Comprehensive film images fuzzed out to a haze, melting slowly in soft pink abstracts, but still recognizable. The film image (a tangible container made on light sensitized substrate) is unraveled and reassembled through electronic frame capture. Figures in landscapes rolled past the video lens, the nuance of their gesture still readable. Any parts that are ambiguous the imagination simply fills in.
(2010) 16mm, sound, 12 mins
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.”

Line of Apsides
(2015) 16mm, silent, 10 mins
16mm silent edit of footage shot at Film Farm Ontario and night skies in Wisconsin among other scenes.

Julie Murray was born in Dublin, Ireland. In 1985 she moved to the US where she began making experimental films. Continuing to work in and draw relationships from painting and photography she has completed many short films and has collaborated on numerous film installation/performance events with artists, musicians and filmmakers.
Her work has been included in the New York Film Festival, Images Festival in Toronto, the Rotterdam International Film Festival, and was exhibited at the Whitney Biennial in 2004. Along with screenings at the Museum of Modern Art, NY , the San Francisco Cinematheque and the Pacific Film Archive in California, Murray has been invited to present her films at the Art Gallery of Ontario Cinematheque in Toronto, at Anthology Film Archives, New York., Hallwalls, NY, Los Angeles Filmforum, SF Cinematheque, Pacific Film Archives, and has been a guest artist at various universities. Outside of the United States her films have been screened in programs at Centre George Pompidou, Paris, the Museum of Strasburg, the Dublin Film Festival and the London Film Festival.
She has curated programs of films including a selection for the Experimental Film night at the New York Women's Film Festival, the New York Filmmaker's Co-op 35th Anniversary series and for a 2005 Canyon Cinema/San Francisco Cinematheque collaboration. She was artist-in-residence at LIFT (Liaison of Independent Filmmakers of Toronto) 2013 and at Mobile Frames in Windsor, CA in 2014 and most recently at MacDowell Colony.
Film prints of Julie’s films are at The Museum of Modern Arts Film Archives as well as the Whitney Museum of American Art and are in the NewYork Public Library's Special Collections, NYC. Murray's early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

Monday, November 13, 2017

11/15/17 the works of MAYA DEREN

Meshes of the Afternoon
1943, 14 min
Considered a staple of avant-garde American film, this collaboration with Alexander Hammid stars Deren as a woman  inside of a labyrinthine nightmare, inhabited by her double as well as a mysterious cloaked figure with the face of a mirror.

At Land
1944, 15 min
A 15-minute silent experimental film written, directed by and starring Maya Deren. It has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain ones personal identity. The composer John Cage and the poet and film critic Parker Tyler were involved in making the film, and appear in the film, which was shot at Amagansett, Long Island.

Ritual In Transfigured Time
1946, 15 min
In Maya Deren's Ritual in Transfigured Time we have gestures that invite us to move into step with them, abandoning the comfort of the known and giving ourselves over to so many strange partners. This silent short begins in a domestic environment, moves to a party scene, and ends with modern dance performed in an outdoor setting. The film's continuity is established by an emphasis on gesture and/or dance throughout.

A Study in Choreography For Camera
1946, 4 min
Using a unique editing style, manipulating of time, and utilizing the motions of dancer Talley Beatty, Deren has said this film was "an effort to isolate and celebrate the principle of the power of movement."

Meditation On Violence
1948, 13 min

The Very Eye of Night
1963, 15 min

Monday, November 6, 2017

11/8/17 Cate Giordano


Peg Bordelon Series
HD video, 2013, 10 minutes
A southern transplant winds up in NYC hell bent on making a film. Posing as a “Women’s Studies” major at a non-existent college, Peg can be found skulking through the streets, camera in hand, looking for talent everywhere she goes.

Hunter in the Woods

Hi8 transfer to digital video, 2007, 8 minutes
Hunter Dodge escapes to the woods and builds his ideal life for himself out of scrap wood. His happiness is disrupted by his estranged wife, Joy, who drags him kicking and screaming back into reality.

MiniDV and 16mm film transfer to digital video, 2008, 14 minutes
Trapped in the belly of a Trojan Lion, Jonah and Dot are falling out of love. Jonah, a writer, fights to remain true to his artistic visions, despite mounting pressure from Dot to earn money.

Super 8mm transfer to video, 2017, 5 minutes

After the fire is gone
VHS and miniDV transfer to digital video, 2017, 33 minutes
Dolly is discontent with her life in New York City, waiting tables at a greasy spoon while her husband Anton sells life insurance out of a shoebox office in Queens. When Clayton, the love of her life, happens into the diner, Dolly is overcome with nostalgia for her past life with Clayton, the South, and everything she was before she married Anton.
Total Program Runtime: 70 Minutes

Bio: Cate Giordano works in sculpture, performance, and moving image. Cate's work has been exhibited at Microscope Gallery, Spring/Break Art Show, New York; James Farley Post Office, New York; Old School in collaboration with the New Museum, New York; and Parlour Bushwick, Brooklyn, NY, Film Society at Massachusetts College of Art and Design, Boston, MA, Spectacle Theater, Brooklyn, NY, Flaherty Seminar at Anthology Film Archives, New York and Millennium Film Workshop, Brooklyn, NY among others. Cate received a BFA from Massachusetts College of Art in 2008 and was a Smack Mellon’s Artist Studio Program recipient in 2016-17. Originally from Pensacola, FL, Cate Giordano lives and works in Brooklyn, NY.