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Variant

“I intend my films to jump out at you from their dark spaces, their gaps, their elisions, to vibrate in your whole being in the very manner and rhythm of felt experience” (John Du Cane) In Variant, objects and spaces (trees, ships in the harbour, a teapot and cups on the table, grassy fields) do appear to jump out at the spectators, moving rapidly towards them. The film’s speed suggests the idea of an impermanent flux, attempting to create a transient, felt experience. Variant “pushes to experiential and formal extremes the deployment of schematic and repetitive structures.” (Federico Windhausen)

Variant

NR 1973
TV Interruptions (7 TV Pieces)

Conceived and made specifically for broadcast, these were transmitted by Scottish TV during the Edinburgh Festival. The idea of inserting them as interruptions to regular programmes was crucial and a major influence on their content. That they appeared unannounced, with no titles, was essential.. These transmissions were a surprise, a mystery. No explanations, no excuses. Reactions were various. I viewed one piece in an old gents club. The TV was permanently on but the occupants were oblivious to it, reading newspapers or dozing. When the TV began to fill with water newspapers dropped, the dozing stopped. When the piece finished normal activity was resumed. When announcing to shop assistants and engineers in a local TV shop that another was about to appear they welcomed me in. When it finished I was obliged to leave by the back door. I took these as positive reactions… – D.H.

TV Interruptions (7 TV Pieces)

NR 1971
Images of Asian Music (A Diary from Life 1973-74)

A contemplative, seemingly timeless record of the years Hutton spent in Southeast Asia while working as a merchant seaman. Jon Jost writes, "The film is rich with truly wonderful visions: a thick, white porcelain cup perched on a ship's rail, the tea within swaying gently in sync with the ship while the sea rushes by beyond…the faces of crewmen posing awkwardly but also movingly for the camera; a cockfight on ship; scenes from a bucolic pre–Pol Pot Phnom Penh. Images has the haunting elegiac resonance of Eugène Atget's Paris, the echo of a time and place that was." - MoMA

Images of Asian Music (A Diary from Life 1973-74)

6.7 1974
Nomad

In 1977, Ignacio Julià shot his last film in Super-8, Nomad, a 43-minute medium-length film with three protagonists and a fourth in the shadow, the author himself. The idea of assembling static portraits arose from reading a chapter on "off-screen space" - everything that does not appear on the screen but whose absence enhances the shot and the story - in Noël Burch's book Praxis del cine. The film shows the decisive influence of Andy Warhol and Phillipe Garrel's cinema. The soundtrack is by The Velvet Underground and the poster was by the Madrid artist Ceesepe.

Nomad

NR 1977
A Sense of Loss

Shot over six weeks in December 1971, and January 1972, the film consisted of interviews with Protestants, Catholics, politicians, and some soldiers, combined with TV news clips of bombings and violence. The deaths of four individuals formed the central focus of the film, which Ophüls described as ‘an old, middle-aged, humanistic, social-democratic attempt to give people an idea that life after all is not that cheap’. The BBC refused to transmit the completed film on the grounds that it was ‘too pro-Irish’ (Sunday Times, 5 Nov. 1972). (via http://cain.ulst.ac.uk/othelem/media/docs/freespeech.htm)

A Sense of Loss

9.0 1973
Sound Strip/Film Strip

Sound Strip / Film Strip is Paul Sharits' first "Locational" work, made in collaboration with Bill Brand. The piece was commissioned for the 1972 opening exhibition of the Contemporary Arts Museum, Houston,Texas. “...Sound Strip / Film Strip consists of four film loops simultaneously projected sideways so that the four images abut one another horizontally. Sharits made each loop by filming colored surfaces, scratching the film, projecting it so that the sprocket holes showed on the screen; he then filmed that projection, scratched the result, and projects that as the final object. The resulting image is a continuous flicker of various color ranges with both actual and ‘virtual’ scratches and sprocket holes running horizontally (normally vertically) across the screen. Thus, Sharits is working with filmic abstraction which employs no image save for that inherent in the medium itself....”

Sound Strip/Film Strip

3.0 1972