New sample tests for hand-processed film production titled, "TO TRANSLATE OUR WINDS." This film will be a love story that may integrate Russian dialogue with English visual translations (but things change all of the time, so time will tell). More to come. This is an unedited sample of more raw developed footage and sound from St. Petersburg vocal chords.
This footage does not represent the film's story and only serves to represent the visual aspects of the film's narrative.
Special Thanks to Y.S. for Russian mentoring.
All photography and art direction by Jane Public.
Translation of WIND (Russian to English language)
poem: Boris Pasternak
I am finished, but you're alive
And the wind complaining and crying
is rocking the forest and the house
Not every pine tree separately by the entire mass
Over the endless vista
Like the masts of sailboats over calm anchorage
And it is not out of boisterousness or an aimless rage
But out of longing to find words for your lullaby song
Michael Snow is considered one of Canada's most important living artists, and one of the Jane's leading influences of experimental filmmakers. His wide-ranging and multidisciplinary oeuvre explores the possibilities inherent in different mediums and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception.
Jane was reading something about Michael Snow this week and a lightbulb clicked on. While Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He was probably following me.
He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing of some of his most ambitious and influential works to date. His 1964 film New York Eye and Ear Control documents his growing involvement with the burgeoning free jazz movement, and the soundtrack boasts a lineup that includes Albert Ayler, Don Cherry, and Sonny Murray. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich.
At the same time, Snow made alliances within the underground film scene centered around Jonas Mekas' Filmmakers' Cinematheque, an experience that encouraged him to find ways to transfer his concerns with music and photography into the realm of the moving image. He assisted Hollis Frampton on films such as Nostalgia(1971), and it was legendary director Ken Jacobs whose loan of equipment helped Snow create his most famous and influential work, the groundbreaking 1967 film Wavelength.
Wavelength, which notoriously includes a 45-minute camera zoom within a fixed frame, remains one of the most studied and admired works of structuralist filmmaking. Wavelength, is one of the most important films that has inspired Jane Public to make work (next to Bergman and Cassavettes).
Jane could meditate at a film screening on this movie for days. No bullcrap. It was almost traumatizing to experience for the first time on 16mm projection during film school theory class. Wavelength is one of the most important films in the catalog of experimental cinema, and film as a fine art.
Do YOU mean Michael Landon ? Yes. It's true. I (JANE) love "The Little House On The Prairie" and it's playing in the background even though I am trying to organize films into dusty boxes. Tell no one. Please.
It's embarrassing. (the love I have for this old television show, not Gilbert's freckles) bye.
European film panel (UK, Sweden, Belgium, Germany, France and Canada) discussion on new & nominated award-winning work .
The survival of film - photochemical , analog film - depends on it being understood as a medium within the industry that has historically and commercially used it the most: the cinema industry. I support the ongoing dispute that this new transition to digital means has created for new and emerging works designed to challenge this status quo - Jane Public
Wow. If it were not for the development of creative arts technology, I would not have the means to work, and create, in the prolific fashion that I do. Thank Gawd for the great developments that have evolved for the modern-day artist. Today we have so much more to select from, despite the loss felt by our dumb feelings of romanticism (i.e. our difficulty "letting go" of our accustomed tools). Bye. ..
Dear Bloggersville, I am excited to inform you of the release of a terrific new compilation of contemporary found footage experimental films entitled "The Festival of (in)appropriation #1 - 4." Founded in 2009 under the auspices of Los Angeles Filmforum, the Festival of (in)appropriation has quickly become a premiere venue for screening contemporary short experimental found footage films. Each of the films in the festival repurposes found film, video, and/or audio materials in inventive and provocative ways, producing new meanings and new connections between preexisting texts. Now, for the first time, a selection of films from the Festival of (in)appropriation is available on DVD! These 45 films are a treasure trove for anyone interested in experimental found footage film or appropriation art in general. For rights reasons, the compilation is only available for purchase by colleges, universities, and other educational or research institutions. So if you would like your school or institution to own this amazing collection, please request that they buy this great collection. Participating filmmakers include: Jaimz Asmundson, Colin Barton, Roger Beebe, Gregg Biermann, Marcin Blajecki, Matthew Causey, Lauren Cook, Joey Huertas, Steve Cossman, Brandon Downing, Clint Enns, McLean Fahnestock, Peter Freund, LJ Frezza, Brian Frye, Dave Griffiths, Elizabeth Henry, Caroline Koebel, Wago Kreider, Julian Krubasik, Tanja M. Laden, Ryan Lamb, Penny Lane, Daniel Martinico, Mike Maryniuk, Evan Meaney, Clark Nikolai, Heidi Phillips, Jennifer Proctor, Gerard Freixes Ribera, Tasman Richardson, Dillon Rickman, Catherine Ross, Jorge Sa, Oriol Sanchez, Stuart Sandford, Raquel Schefer, Kelly Sears, Scott Stark, Ann Steuernagel, Leslie Supnet, Shashwati Talukdar, and Sasha Waters Freyer.
All the best, Jane Public Duh Informant
p.s. Location scouting for barns is not as easy at one thinks. ttfn...
Scratch Projection is a powerful tool for Light Cone and the promotion of experimental cinema. This screening structure for experimental film, with its regular Parisian screenings, encourages the exploration of the film history and a visibility for the work of contemporary artists,. Scratch Projection has always been nomadic in Paris, which has encouraged the meeting and mixing of different audiences. Over the years, Scratch Projection has screened at the Entrepôt, in the auditorium of the rue d'Ulm, Audiopradif, the Café de la Danse, the Centre Wallonie Bruxelles and more recently, at the Voûtes, the Centre Georges Pompidou, Confluences and the cinema 'Action Christine'.
The board of directors of Light Cone followingYann BEAUVAISandMiles MCKANEand, between Sept. 2003 and June 2007 Marc Bembekoff and Christophe Bichon, has taken responsibility for organising programs, offering monographic, thematic or carte blanche screenings, as well as evenings devoted to expanded cinema. Scratch has become a permanent forum for exchange and critical examination of historical and contemporary film practice.
The opening reception also coincides with the first day of the renowned Dumbo Arts Festival.The New York Photo Awards 2012 Exhibition features work from over 60 photographers from the fields of fine art, documentary, photography book publishing, stock agency representation, magazine editing, and museum curating. In Brooklyn. bye.
CLICK PLAY ABOVE for a partial student recorded Q and A session (using a cellphone).
review by Adam Zeller
This film continues Huertas' exploration of camera quasi-documentaries. In this one, a hypnotist works with a friend of Erin, a student who has been missing for 11 years. As a session continues, the image mutates to TV "snow," while the audio becomes mixed with conflicting sounds. There is an eerie, almost pornographic (ideologically speaking) feel to the film. We sense that we are intruding and then censored for what appears to be a contrived situation that we are supposed to believe is real. We are kept on the edge between artifice and reality, and an uncomfortable edge it is.
http://www.bbc.co.uk/news/world-asia-19651683 p.s. Regarding Chicago Teachers Strike: Anti-Bullying article added to contract, Longer school days, Merit Pay controversy tossed, More Social Workers in new contract agreement, Art classes added to new contract to nurture critical thinkers, contractual downside is that some schools will be selected to be closed :( ... upside is THE STRIKE HAS ENDED :) !
Live performance Friday 21 September 2012 at 20.00 Jeff Keen (1923-2012) was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain. This major installation for The Tanks at Tate Modern was conceived by Keen in response to the unique nature of the Tanks. Featuring a large, dioramic screen, the installation will demonstrate the spirit of Keen’s expanded cinema events, his early experiments in drawing, painting and animation, his fascination with surrealism and popular culture, and his radical development of multiple screen projection, cut-up soundtracks and unruly live action. A very special live performance in the Tanks on Friday 21 September at 20.00 will feature projections and live music and action performed by Keen’s daughter Stella Starr and a range of Keen’s collaborators, including Alan Baker, Chris Blackburn, Rob Gawthrop, Mike Movie and Jason Williams as ‘Silverhead’. Keen was a veteran of the Second World War, and his work powerfully evokes the violence, colour, speed and noise of the 20th century. He transformed cinema into a riotous collage of comics, drawings, B-movie posters, plastic toys, burning props and extravagant costumes. His early 8mm and 16mm films are built for speed, combining footage of Beat-era motifs – jazz, motorbikes and car culture – with experimental animations in which the achievements and atrocities of the 20th century seem to flash by within a few short, cacophonous seconds. A single frame could not contain the frenzied energy of Keen’s imagination, and by the mid-1960s he began to use multiple screens and live action in presentations of his work. bye.
Raw studio recorded demos of rock band prior to the recording contract mess, fiasco and film school.
All sound projects, albums, films and band recordings (like this one) are being archived to contemporary digital format/s. Jane Public performs drums and percussion on this recorded track.
All material recorded by Bob Gurske (RIP) at Winter Sound Studios, Virginia.
Music, percussion and lyrics by Jane Public (very 90's alternative music Sub Pop studios Seattle era work ).
bye. but... Dear Jane Public,
Paris Expérimental Editions is preparing the catalogue raisonné of Jane Public films, videos and installations. Any museums, institutions or distributors holding works in their collection are kindly requested to contact us in order to be included in our publication, to be released in November.
Many thanks, PARIS EXPERIMENTAL 4, rue Richer F-75009 Paris