In the thickness of time
A&B in Ontario, Joyce Wieland & Hollais Frampton, 1984
A program by Light Cone* and LE BAL BAL
Shot reverse shot, proliferating points of view, the declination and iteration of an action: just a few of the various protocols employed by the filmmakers in this film series to represent a single moment or a unity of space in a manifold way. Time becomes matter, sensation, kinetic energy, challenging the spectator in his attempt to decipher the real.
Seance 1 | Enigmatic dramaturgies | Tuesday May 28, 2019
From the détournement of advertising codes by an endless repetition of events in Peter Kubelka’s Dichtung und Wahrheit (Poetry and Truth), to the Structural and Cubist treatment of time’s unfolding in the work of Chris Gallagher, to the exploration of a given space bound by a repetitive matrix in the case of Arthur and Corinne Cantrill, each of these films presents a set of temporal enigmas that respond to the idea of a discontinuous reality. For their part, Joyce Wieland and Hollis Frampton play on their reflexive presence in a kind of contemporary reference to Man with a Movie Camera, where the shot/countershot technique employed by the filmmakers disturbs our notion of the present moment. In the case of Richard Tuohy and Dianna Barrie, the element that distorts space and time is the filmmakers’ use of superimposed street scenes, creating a vertiginous multiplicity of points of view at any given instant. Finally, building on the base of just of a few still frames of Dominique Noguez climbing and descending the same staircase, in Sensitométrie III, Patrice Kirchhofer dilates and reiterates time, as he, in the words of Nicole Brenez, « explores in this film all the possible rhythms, placing value in irregularity, difference, dicontinuity.
Home Movie – A day in the bush, Arthur & Corinne Cantrill, 1969, 16mm, 4'
Dichtung und wahrheit, Peter Kubelka, 2003, 16mm, 13'
A&B in Ontario, Joyce Wieland & Hollis Frampton, 1984, 16mm, 16'
Seeing in the rain, Chris Gallagher, 1981, 16mm, 10'
China not China, Richard Tuohy & Diana Barrie, 2018, 16mm, 13'
Sensitométrie III, Patrice Kirchhofer, 1975, 16mm, 20'
Séance 2 | Cinematic sensations | Tuesday June 11, 2019
Made in 1969, <—>, also known as Back and Forth, is a monument of Canadian Structural cinema. Spanning fifty-two minutes, the film is composed only of a series of panoramic shots filmed in a classroom whose windows open to the street, creating within the film a tension between the inside and the outside. Continuing his work on camera movement, be it optical or mechanical (an object of study inaugurated with Wavelength), here Michael Snow constructs a fascinating spatio-temporal exploration, in which the rhythm of the metronome, used to define the different speeds of the camera’s movement, makes itself felt at every moment, leading the spectator into a state of cinematographic trance.Other spaces are explored in the program, by way of stategies that employ a splitting of the cinematographic frame; in Yann Beauvais’s double-projection piece Sans titre 84 it is the Arc de Triomphe, while in Tomonari Nishikawa’s Tokyo – Ebisu, the Ebisu neighborhood of Tokyo.
Tokyo – Ebisu, Tomonari Nishikawa, 2010,16mm, 5'
Sans titre 84 , yann beauvais, 1984, 16mm, 14'
↔, Michael Snow , 1969, 16mm, 50, 69'
Cinéma des Cinéastes
7, avenue de Clichy – 75017 Paris
Screening : 9,50 euros / 7,50 euros reduced price
Screening + exhibition at LE BAL Barbara Probst - The Moment in Space: 11,50 euros
*LIGHT CONE is a nonprofit organization whose aim is the distribution, promotion and preservation of experimental cinema in France and around the world.