Monday, April 30, 2018

4/25/18 Adam Paradis


Damage Control (2010, 4min)
This film began as an experimental restoration of a hypothetical parody; Jay Wards’ Bullwinkle does Peter Kubelka. Re-spliced and rebuilt several times, this film at times becomes more of a restoration process than a creative one. In a sense, the film represents a work of experimental archiving.

Random Acts of Provocation: Part One (2013, 2.5min)
Unintellectual nonsense or something. Fuck it. Whatever.

Fire in the Fireplace (2012, 12 min) Anarchy, robots, Cat Stevens and job related trauma. A power struggle at hand and what we face when our history catches up with us.

Everything You Do Will Be Recorded (2013, 6min.)
Wake up from a dream and try to figure out where you are. Scramble history to compose a pop single that finds out it is the butt of its own joke. Or, better yet, lets have history exist on multiple plains and try to connect the dots.

Something Along The Way (2014, 7min.)
A memory, a hallucination, regrets and looking back through time. One life lived, and maybe your dreams did not come true.

Lack of Action (2018, 9min) Sometimes there are so many choices we choose nothing. Sometimes the choices are difficult, so we move on anxious and uneasy, knowing we are part of the problem.       

ZAMA (2013, 2.5min)
A ponderance on loneliness. Two films slit come together. A somber contemplation on being alone in a strange place. Split 35mm found footage and hand processed 16mm.

The year of the Tooth (2017, 3.5min)
As I look towards the sky and try to give it all a deeper meaning. Calling insurance companies and fighting with receptionists, seriously, this has to have some kind of higher purpose.
(Untitled) Endless, Nameless (2006-Present, 18min)
Originally made as a live projection for the band Prince Rama, this film has taken on many variations over the years. After being shelved for some time, I’ve recently started screening

Total Run Time: 65 min.

Bio: Adam Paradis brings together an eclectic mix from his own body of work created over the past fifteen years. These selections represent Adam Paradis' fascination with found footage and the range of material that you can come across in search of your own cinematic vision. Collecting and curating films became part of Adams arsenal as he dove head first into the wormhole that working with found materials has become for him. From tangential to didactic – sometimes presented as a tirade, other times as an elaborate thought, essay or simply a mood – these films explore a variety of processes, techniques and ideas that Adam has uncovered along his way.

Adam Paradis (1980) is a Boston-raised, Chicago-based independent filmmaker, moving image curator, skateboarder, and repairman. His work focuses on topics of film materiality, media archaeology and archival process (or lack thereof). He received a Studio Diploma from The School of the Museum of Fine Arts, Boston in 2007 and an MFA at The School of The Art Institute of Chicago in 2013. His film and video work has been screened worldwide at festivals and venues such as Museum of Contemporary Art Chicago, Institute of Contemporary Art Boston, the Museum of Contemporary Photography Chicago, Museum of Fine Art Boston, Palace De Tokyo Paris, and featured on

4/18/18 Marjorie Keller


Misconception (1977, dir. Marjorie Keller 43 min.)
"MISCONCEPTION is a film structured on juxtapositions: indoors/outdoors; redecoration/destruction; exercises/actual birth; male opinion/female opinion; preparation/pain. Its montage structure of both image and sound balances MISCONCEPTION on the precarious moment, like birth, between these counterposed positions: conception/misconception, point/counterpoint." – Anne Friedberg "MISCONCEPTION is composed of six parts that together chronicle the experience of one woman and her husband during the course of her natural childbirth. The film communicates the precision and care with which it has been assembled. (The) structure lends the film a pacing rhythm that has less to do with traditional cinema-verit & eacute; documentary or film journalism than with the pacing and rhythm of poetry." – B. Ruby Rich

Herein (1991, dir. Marjorie Keller 35 min.)
"If you put it on tape, you can't erase it." HEREIN charts the movement from political activism to filmmaking through the metaphor of a dwelling. An FBI film obtained under the Freedom of Information Act, Emma Goldman's autobiography, the making of films on the Lower East Side in New York, street prostitution and drug addiction, all inflect the sense of place, space and history.

IS AS IS (1991, dir. Saul Levine, 3.5 min.)
A portrait of a mother with her arms full in the backyard bathing her twin babies as the early spring light sings and dances. Later the father cooks a fish. Marjorie Keller is the mother.

Total Run Time: 82 Minutes

Bio: Marjorie Keller (1950–1994) was an experimental filmmaker, author, activist, film scholar. J. Hoberman called her "an unselfish champion of the avant-garde.”

4/11/18 Bruce Posner


ORGASAMATIC (1983/1994/2015)
8/16/35mm, color/bw, sound stereo re-mix 2015 Gustavo Matamoros, 4.5 mins
The content has the following origins, with the story behind the film being quite strange. It relates back to Mary Abbott’s young nephews, niece and their babysitter who all sadly died in an early morning house fire in St. Albans, VT in 1982. The bw images of the weird boy’s face that flashes by were contact printed several months beforehand, right next to the chimney that caught fire and killed them. The weird boy is Avy, a friend from college days (c. 1974-76), whose father photographed him in poses each year of his life
through adulthood and each year in a different costume. The grinning girl with bangs pictured in oval frame is about 5 years old, the same age as one of the nephews who died in the fire. The footage is from a 1930s mental health film, “The Feebleminded,” that grouped persons of mental and physical challenges-handicaps who the film promotes should be sterilized. Among which the little girl was an epileptic; and the filmmakers were subjecting her to stroboscopic flashes to induce a seizure, for which she responded with a silly smile. Meanwhile, Mary Abbott as “Florence nightingale” with candelabra waifs into and out of the frame.

3GGP2, color, sound, 42 mins.
A digital meditation on the parade through 2017 mostly shot in a 3 mile-radius around Hanover, NH. Since 2002, each year I produce a year’s worth of low-res Motorola Razr cellphone movies in pixelated color fields with authentic synch-sound audio. This edition somewhat gracefully glides along my daily path to town and back (and other places) illustrating sonic adventures and visual encounters... glimpses of Jodie Mack, Saul Levine, Alvin Lucier, and flowers, lots of flowers!

SEXODUS: A JOURNEY 1989-2004 (2011)
JEPG in slideshow, color, silent, 10 mins.
My wild drawing phase... sketchbook drawings made incessantly during the ‘90s Miami-Cambridge years with a later bit of New Hampshire thrown in for good measure. Like the title infers, my personal sex journey during those years through the Animal House of Miami and Harvard, very colorful (and insightful too).

AO804.1 (1976-2017)
8/16mm, 4 screens, color, sound, mix 1997 Joel Haertling Architect’s Office, 11 mins.
Summer of 1976 (as opposed to the summer of love) just drifting around Miami. Before the Cubans were thrown out of Cuba, so town still cracker white for the most part. And the University of Miami campus art buildings play some role. Also Miami Beach, Coral Gables, South Miami, Homestead, and the Everglades. The inspiration was seeing the incredible Super8-screen diary cinema made by German-American photographer Will McBride, who several years earlier had visited the Wilson Hicks Communications Conference at UM. He got Leica to donate the cameras and projectors and filmed everything at his hippie-artists-commune in Italy. Music track by a variety of persons; last performed, edited and re-mixed by Joel Haertling of Architect’s Office from several live performances with the films in Boulder during the 1990s. He worked on most of Brakhage’s later sound films during the 80s-90s period.

35mm, color, sound remix 2015 Carlos Dominguez, 15 mins.
From my first scraps of professional film animation to the latest wonders of digital editing, this raucous bit of 3-screen mayhem encompasses most of my filmmaking career and adult life, left in pieces in the projection booth. With Maggie Cheung, Charles Recher, and Avram Goldstein, again.

memories of long ago (2018)
JPEG in slideshow, color, silent, 40 secs.
I place myself in his shoes while wandering around his room; I fly away in many pieces... a joyous lament.

Reg 8mm, 3 screens, color, silent, audio added 2018, 28 mins.
Made on my father’s 8mm Kodak Cine, these gentle baby steps led to my first optically printed film, “Hamaca” (1975). Years later in 1978, I readdressed the 8mm camera rolls into a series of “Hamaca Supplements,” the much longer originals strung together into a 2-screen “Virgin Version,” and then in 2009, the last roll, “I Was There,” added into this final form as a 3-screen projection. The new 2018 audio track-compilation mix was inspired by the accidental recovery of a 90 minute-long audiotape recording of a 1970 acid trip on “The Hill,” a place located in Fallowfield Township, Pennsylvania, and much depicted in the 8mm footage, going up and down and rolling around. Five friends having a jolly old time chasing lobsters, trying to get the car started and just laughing an awful lot at nothing in

Total Run Time: 112 Minutes

Bio:Bruce Posner is an artist, scholar, curator, and creative filmmaker whose projects have been cited as “provocative, insightful, and significant to the history of motion pictures,” garnering awards for excellence from the National Society of Film Critics, Los Angeles Film Critics Association and Boston Society of Film Critics. His many works in film, over 350 titles to date, are currently represented in digital editions published by Filmstruck, Turner Classic Movies, Kino Lorber, Flicker Alley, Light Cone, Kanopy, Lobster Films, VHX and Netflix DVD.

Films made by Posner and restored under his care are held in the permanent collections of the Library of Congress National Audio-Visual Conservation Center (Culpepper), Centre national d'art et de Culture Georges Pompidou (Paris), EYE Film Institute Netherlands (Amsterdam), British Film Institute National Archives (London) and numerous other museums, film archives and cultural institutions around the world.

In 2001, The Whitney Museum of American Art premiered his film preservation retrospective, “Unseen Cinema: Early American Avant-Garde Film 1894-1941,” with a 3-month exhibition at the old Madison Avenue museum prior to commencing its worldwide tour that continues to the present day. The films are now being featured in San Francisco at the de Young Museum’s exhibition, “The Cult of the Machine,” and at a special screening at the 23rd San Francisco Silent Film Festival in May. On the home front during the past twenty-one years, Posner has organized the Monday evening film discussion series, “Ciné Salon: Impressions on the Art of the Cinematograph,” at the Howe Library in Hanover. Guests have ranged from international renowned celebrities Thierry Frémaux, director of the Cannes Film Festival, and John Bailey, Hollywood cinematographer and president of the Academy of Motion Picture Arts and Sciences, to local visual artists working in cinema Ria Blaas, Steve Bissette, Ted Degener and John O’Brien.

Since 2004, Posner in collaboration with Rich Fedorchak, Sukdith Punjasthitkul and John Tariot have sponsored “Home Movie Day” in the Upper Valley, where anyone can bring in their amateur home movies for inspection and projection. The New Hampshire State Council for the Arts has designated him a Lifetime Arts Fellow.

4/4/18 Jennifer Saparzadeh


Nu Dem (2017, 9 min)
Nu Dem traces Europe's borders in Spring 2016 when new laws were passed denying previously instated freedom of movement, and barring people seeking refuge from entering. People, mostly from Syria, Afghanistan, Iran, and Iraq, waited directly on a heavily policed border between Greece and Macedonia in hopes of eventually entering Northwestern Europe.
Lebanon Street (2016, 5 min)
Lebanon Street documents the stop and go, the frantic stagnation, of lives lived without the freedom to move. Named after a street in Los Angeles, the title scrutinizes the arbitrary nature of borders and geographical renaming.
Shabe Sher (2014, 13 min)
Algerian born Frenchman, Philippe Jacq, embodies a psychological journey through exile and loneliness. Traditional and contemporary Iranian poems resound against a bleak black and white landscape as he travels through the material of imagination and longing.
Autoportrait (2012, 2 min)
A traveling confrontation to a disintegrating sense of unity and to questions of homeland, togetherness, and separation.
Desespero Magnanima (2013, 6 min)
The wind and rhythm of Lisbon animate the mythological origins of Fado, a music tradition that gives form to the feeling of saudade. The Fado origin story depicts a windless night on the open sea; there, in darkness, stillness, and silence the human voice can access profound emotion- and desperation.
Slowly (2011, 10 min)
Slowly is a film about shame, separation, desire, and imagination. Inspired by the poem "The Nymph Complaining for the Death of Her Faun" by Andrew Marvell.

Three Portraits: Jackson, Bridges & Balloons, Laaron (2006-2007)
Three super 8 portraits of my friends I made as a teenager; made in the mid 2000s.

Total Run Time: ~60 Minutes

Bio: Jennifer Saparzadeh makes films that focus on the physical and emotional borders between humankind. Currently she resides in Los Angeles, CA.

Saturday, March 17, 2018

RESCHEDULED 3/28/18 Mary Filippo and Nina Fonoroff

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