Sunday, March 30, 2008
Fluxfilm n:o 1: Zen for Film D: Nam June Paik, 1962-1964, 7 min 16 mm b&w silent - white screen
Fluxfilm n:o 2: Invocation of Canyons and Boulders D: Dick Higgins, 1966 1 min 16 mm colour silent - the devouring mouth
Fluxfilm n:o 3: End After 9 D: George Maciunas, 1966 1 min 20 sec 16 mm b&w silent - just the title
Fluxfilm n:o 4: Disappearing Music for Face D: Chieko Shiomi, 1966 10 min 16 mm b&w silent - mouth
Fluxfilm n:o 5: Blink D: John Cavanaugh, 1966 2 min 30 sec 16 mm b&w silent - flicker
Fluxfilm n:o 6: 9 Minutes D: James Riddle, 1966 9 min 16 mm b&w silent - seconds numbered
Fluxfilm n:o 7: 10 Feet D: George Maciunas, 1966 0 min 28 sec 16 mm b&w silent - counter
Fluxfilm n:o 8: 1000 Frames D: George Maciunas, 1966 0 min 42 sec 16 mm b&w silent - counter
Fluxfilm n:o 9: Eye Blink D: Yoko Ono, 1966 1 min 16 mm b&w silent - slow motion of opening eye
Fluxfilm n:o 10: Entrance to Exit D: George Brecht, 1966 6 min 30 sec 16 mm b&w opt - from light entrance to dark exit sign
Fluxfilm n:o 11: Trace n:o 22 D: Robert Watts, 1966 1 min 15 sec 16 mm b&w silent - Marilyn, thighs, mons pubis
Fluxfilm n:o 12: Trace n:o 23 D: Robert Watts, 1966 3 min 16 mm b&w silent - road marks, mons pubis, penis ersatz, bare breasts
Fluxfilm n:o 13: Trace n:o 24 D: Robert Watts, 1966 1 min 19 sec 16 mm b&w silent - X-ray of talking and eating head
Fluxfilm n:o 14: One D: Yoko Ono, 1966 4 min 30 sec 16 mm b&w silent - extreme slow motion of lighting a match
Fluxfilm n:o 15: Eye Blink D: Yoko Ono, 1966 1 min 16 mm b&w silent - fast eye blink
Fluxfilm n:o 16: Four D: Yoko Ono, 1966 5 min 30 sec 16 mm b&w silent - four-split screen of bare buttocks (back and thighs)
Fluxfilm n:o 17: Five O'Clock in the Morning D: Pieter Vanderbek, 1966 4 min30 sec 16 mm b&w silent - slomo - pebbles on white
Fluxfilm n:o 18: Smoking D: Joe Jones, 1966 6 min 16 mm b&w silent - extreme slow motion
Fluxfilm n:o 19: Opus 74, Version 2 D: Eric Andersen, 1966 1 min 20 sec 16 mm colour silent - overlong director credit
Fluxfilm n:o 20: Artype D: George Maciunas, 1966 4 min 20 sec 16 mm b&w silent - flicker film of a circle pattern *
Fluxfilm n:o 22: Shout D: Jeff Perkins, 1966 2 min 30 sec 16 mm b&w silent - the word "Shout" expands, DP: Y. Ono, a silent on shouting
Fluxfilm n:o 23: Sun in Your Head D: Wolf Vostell, 1966 6 min 16 mm b&w silent - flicker grid - "television decollage", early video art
Fluxfilm n:o 24: Readymade D: Albert Fine, 1966 0 min 45 sec 16 mm colour silent - abstract colour *
Fluxfilm n:o 25: The Evil Faerie D: George Landow, 1966 3 min 16 mm b&w silent - clown expression
Fluxfilm n:o 26: Sears Catalogue 1-3 D: Paul Sharits, 1965 0 min 28 sec 16 mm - the catalogue page by page by frame
Fluxfilm n:o 27: Dots 1 & 3 D: Paul Sharits, 1965 0 min 35 sec 16 mm
Fluxfilm n:o 28: Wrist Trick & Unrolling Event D: Paul Sharits, 1966 2 min 30 sec 16 mm b&w silent
Fluxfilm n:o 29: Word Movie D: Paul Sharits, 1966 4 min 16 mm colour optical - ultra fast words
Fluxfilm n:o 30: Dance D: Albert Fine, 1966 2 min 16 mm b&w silent - spastic shadow boxing
Fluxfilm n:o 31: Police Car D: John Cale, 1966 1 min 16 mm colour silent - a beacon in the night
Fluxfilm n:o 36 D: Peter Kennedy, Mike Parr, 1970 2 min 30 sec 16 mm b&w opt - the tips of the shoes
Fluxfilm n:o 37 D: Peter Kennedy, Mike Parr, 1970 2 min 16 mm b&w silent - cells added, until image gets dark
According to Light Cone the most complete version of Fluxus Anthology, five films missing: Fluxfilm n:o 21: Babyfootage (Alyson Knowles), Fluxfilm n:o 32: Intermission (Milan Knizak), Fluxfilm n:o 33: Indeterminate Movie (Milan Knizak), Fluxfilm n:o 34: Rainbow Movie (Ay-O), Fluxfilm N.o 35: Moon Landing (Geoffrey Hendricks). - Basic experiments in perception, provocations of the cinema experience, back to zero, films that are non-films, Being and Nothingness. - Moment s of beauty and humour (Yoko Ono), sex (Robert Watts) and great flicker (George Maciunas, Albert Fine).
Saturday, March 29, 2008
Friday, March 28, 2008
Thursday, March 27, 2008
US 1967. D: David Brooks. 16mm, colour, sound, 25 min announced, actually 17 min. Viewed at Cinema Orion, Helsinki, 27 March 2008.
David Brooks: "Door golden night room trees fire drip rain blue horse river snow birds green mountain forest dark room mist car trees window ducks are flying.
Overtones: Raga Palas Kafi, Grant's, Slug's, Bo Diddley, Jimmy Reed, Raga Rageshri, the wind, Chuck Berry, Marvin Gaye, The Beatles, Platnisky Chorus.
Locales: Nantucket, Kazakhstan, Grant's, Nepal, Colorado, Mt. Kearsarge, lowa, 7th Street."
Lyrical experimental film.
US 1964. D: Ron Rice. M: Angus McLise. Sound: Tony Conrad. With: Jack Smith, Beverly Grant, Mario Montez, Joel Markman, Francis Francine, Guy Henson, Bary Titus, Gerard Malanga. 16mm, colour, sound, 25 min, 28 min announced, actually 22 min. Viewed at Cinema Orion, Helsinki, 27 March 2008. Fine print of an exciting film from the New York transsexual scene, the dream mode reminiscent of Maya Deren.
ROBERT BREER REEL 1
Form Phases 1. US 1952. silent, b&w+hand-colored. Basic abstract animation
Form Phases 2. US 1952. silent, Kodachrome, abstract animation, 1+2 total 5 min
Motion Pictures. US 1956. silent, colour, 4 min. Colour patterns
Image by Images. US 1959. b&w, sound, 2 min. Simple abstractions
Récreation. US 1957. Sound: Noël Burch. In French. Kodachrome, sound, 2 min. Image bombardment
ROBERT BREER REEL 2
Fistfight. US 1964. Music: Stockhausen. Colour, sound, 11 min. Frame-by-frame collage
Un miracle. US 1954. & Pontus Hulten. Kodachrome, sound, 1 min. Gag on Pope Pius XII.
Jamestown Baloos. US 1957. b&w+colour, sound and silent, 6 min. Crescendo with water-colour, with drums
Blazes. US 1961. Sound, colour, 4 min. A visual explosion
ROBERT BREER REEL 3
Horse Over Tea Kettle. US 1962. Sound, colour, 6 min (the film was interrupted, not broken, four times, because of the condition of the print). Humoristic cartoon
Breathing. US 1963. Colour, sound, 6 min. Simple moving lines
Untitled, probably: A Man and His Dog Out for Air. US 1958. 3 min, abstract patterns
Homage to Jean Tinguely's Homage to New York. US 1968. Sound, b&w, 12 min. In French, includes live documentary footage on the mounting of the installation
Pat's Birthday. US 1962. B&w, 14 min. Live footage of a summer party.
Total duration of the show 74 min
Wednesday, March 26, 2008
Saturday, March 22, 2008
ADDED LATER Plot summary from IMDB: "Nejat seems disapproving about his widower father Ali's choice of prostitute Yeter for a live-in girlfriend. But he grows fond of her when he discovers she sends money home to Turkey for her daughter's university studies. Yeter's sudden death distances father and son. Nejat travels to Istanbul to search for Yeter's daughter Ayten. Political activist Ayten has fled the Turkish police and is already in Germany. She is befriended by a young woman, Lotte, who invites rebellious Ayten to stay in her home, a gesture not particularly pleasing to her conservative mother Susanne. When Ayten is arrested and her asylum plea is denied, she is deported and imprisoned in Turkey. Lotte travels to Turkey,where she gets caught up in the seemingly hopeless situation of freeing Ayten." Written by email@example.com - A fine script full of unexpected turns. Also the character development is original, this is a story of growth, of personal growth, and of growth to understand others that are different. - Shantel's soundtrack is wonderful on the film, but the soundtrack album sounds more monotonous.
Thursday, March 20, 2008
Tuesday, March 18, 2008
Saturday, March 15, 2008
"Suojelusenkeli" (comp.: Pekka Juhani Hannikainen, Lyrics: Immi Hellen); "Kierrän" (Akupunktio, comp. & lyrics: Severi Helle); "Väkivalta päihdeongelma" (Pelle Miljoona, comp. & lyrics: Pelle Miljoona); "Saukki-sedän lastentunti" (Saukki ja Pikkuoravat, comp.: trad, lyrics: Sauvo Puhtila); "Jee Jee Jee" (Saukki ja Pikkuoravat, comp.: Jaakko Salo, lyrics: Sauvo Puhtila); "Jee Jee" (Eppu Normaali, comp.: Mikko Syrjä, lyrics: Martti Syrjä/Mikko Saarela/Mikko Syrjä); "Uskollinen" (Tabula Rasa, comp.: Heikki Silvennoinen); "Elektroninen xtaasi" (Virtanen, comp. & lyrics: Pertti ”Veltto” Virtanen); "Hide and Seek" (Creepy Crawlie, comp. & lyrics: Marja Kinnunen); "Birth Control" (Creepy Crawlie, comp.: Katja Lipasti, lyrics: Marja Kinnunen); "I Really Hate Ya" (Briard, comp. & lyrics: Andy McCoy/Pete Malmi); "Tartumme aseisiin" (Akupunktio, comp. & lyrics: Severi Helle); "2006" (Akupunktio, comp. & lyrics: Severi Helle); "Nyt reppu jupiset riimisi rupiset" (Eppu Normaali, comp.: Mikko Syrjä, lyrics: Martti Syrjä); "Kahden soinnun ihme" (Problems?, comp. & lyrics: T.Varonen); "Tahdomme tilaa" (Problems?, comp. & lyrics: T.Varonen); "Ei tää lama päähän käy" (Problems?, comp.: Ari Taskinen, lyrics: T.Varonen); "Punk on typerää" (SE, comp. & lyrics: Jari Knuutinen); "United States of Perverts" (Akupunktio, comp. & lyrics: Severi Helle); "Ahneuden alttarilla" (Akupunktio, comp. & lyrics: Severi Helle); "Leipäjonossa on tunnelmaa" (Pelle Miljoona, comp. & lyrics: Pelle Miljoona); "Les Femmes Islamiques" (Creepy Crawlie, comp.: Katja Lipasti, lyrics: Marja Kinnunen); "Oman käden oikeus" (Creepy Crawlie, comp. & lyrics: Katja Lipasti); "2000 vuotta kärsimystä ja tuskaa" (Akupunktio, comp. & lyrics: Severi Helle); "Prayer" (Festive & Sacral Comp.); "Fuck the Army" (Briard, comp. & lyrics: Pete Malmi); "Mä vain pogoon" (Pelle Miljoona & N.U.S., comp. & lyrics: Pelle Miljoona); "Poliisi pamputtaa" (Eppu Normaali, comp. & lyrics: Mikko Syrjä); "Avoin kirje" (Akupunktio, comp. & lyrics: Severi Helle); "Rakastava voima" (Pelle Miljoona & 1980, comp.: Rubberduck Jones, lyrics: Pelle Miljoona); "Mulla menee lujaa" (Pelle Miljoona & 1980, comp. & lyrics: Pelle Miljoona); "Tahdon rakastella sinua" (Pelle Miljoona & 1980, comp. & lyrics: Ari Taskinen); "Kytät on natsisikoja" (Kaaos, comp. & lyrics: Kaaos); "Sodan tragedia" (Rattus, comp. & lyrics: Tomi Marjamäki); "Tornion kevät" (Terveet kädet, comp.: Timo Wiik, lyrics: Veli-Matti Äijälä); "Mieletöntä väkivaltaa" (Riistetyt, comp.: Markku Viippo, lyrics: Lasse Aaltonen); "Työläinen" (Kohu-63, comp. & lyrics: Kohu-63); "Herää" (Kohu-63, comp. & lyrics: Kohu-63); "Tämä sukupolvi" (Pelle Miljoona & 1980, comp.: Rubberduck Jones, lyrics: Pelle Miljoona); "Väliaikainen" (Lama, comp.: Matti Jurva, lyrics: Tatu Pekkarinen); "Testicle Cat" (Creepy Crawlie, comp.: Marja Kinnunen, lyrics: Marika Nevalainen); "Moottoritie on kuuma" (Pelle Miljoona Oy, comp.: Ari Taskinen, lyrics: Pelle Miljoona); "Anarkisteja" (Sekasorto, comp.: Kai Laaksonen, lyrics: Sekasorto); "Kansanlaulu" (Igni et Ferro, comp. & lyrics: Miikka Järvinen); "Teenage Revolution" (Hanoi Rocks, comp.: Monroe/McCoy, lyrics: McCoy/Monroe); "Kierrän" (Akupunktio, comp. & lyrics: Severi Helle); "Syntyi uudet jumalat" (Akupunktio, comp. & lyrics: Severi Helle); "Maamme-laulu" (comp.: F. Pacius, lyrics: J.L. Runeberg, Finnish translation: P. Cajander); "Matkalla tuntemattomaan" (Pelle Miljoona, comp.: Ari Taskinen, lyrics: Pelle Miljoona); "Oi Isä Herra" (Akupunktio, comp. & lyrics: Severi Helle); "Nuoret sankarit" (Pelle Miljoona & 1980, comp.: Ari Taskinen, lyrics: Pelle Miljoona); "Leipäjonossa on tunnelmaa" (Pelle Miljoona Unabomber, comp. & lyrics: Pelle Miljoona)
Tuesday, March 11, 2008
Première sortie. FR 1905. His first film, as a drunken soldier.
Au music hall. FR 1907. Based on The Mumming Birds, as Chaplin's A Night in the Show (1915).
Les Surprises de l'amour. FR 1909. Father and two sons wooing the same lady.
Trop aimée. FR 1910. Max chased by two jealous dogs.
Les Débutes de Max au cinématographie. FR 1910. A reconstruction of Max meeting Charles Pathé and Louis J. Gasnier.
Entente cordiale. FR 1912. Two rivals in love with the same maid get into duel, apparently killing the seconds.
Max fait de la photographie. FR 1913. Max on the beach wants to photograph a voluptuous lady.
Jockey par amour. FR 1913. Max starts to fast to qualify for the race track.
Le Baromètre de la fidélité. FR 1915. A beautiful print of a comedy with Jane Marnac.
Saturday, March 08, 2008
The Hayao Miyazaki anime masterpiece gets its Finnish theatrical premiere, having been seen in the country previously only on tv, the home vhs copies having become treasures of the owners. Its colour, sense of adventure and fascination with machines and landscapes resemble Hergé. The story takes place on the Adriatic Sea in 1929. The aviator hero is a bounty hunter who fights air pirates. His head has strangely metamorphosed into that of a pig's. Two strong female chacters: the club singer and the young mechanic wizard. The wonder of flying is based on the freedom from gravity, and Miyazaki has his fun with this freedom.
Friday, March 07, 2008
Thursday, March 06, 2008
" I can resist everything except temptation" (Lord Darlington, p. 15)
"Between men and women there is no friendship possible" (Lord Darlington, p. 34)
"The youth of the present day are quite monstrous. They have absolutely no respect for dyed hair." (Dumby, p. 49)
"No, we are all in the gutter, but some of us are looking at the stars" (Lord Darlington, p. 50)
"In this world there are only two tragedies. One is not getting what one wants, and the other is getting it." (Dumby, p. 51)
"Cecil Graham: What is a cynic?
Lord Darlington: A man who knows the price of everything and the value of nothing" (p. 52)
"A heart doesn't suit me, Windermere. Somehow it doesn't go with modern dress" (Mrs. Erlynne, p. 61)
None of this in Ernst Lubitsch's film. The characters in Oscar Wilder's play are more cynical (or try hard to be) than in the Lubitsch film. In the Lubitsch film they are more experienced and less cynical.
- Werther (Goethe / Ophuls)
- Partie de campagne (Maupassant / Renoir)
- Journal d'un curé de campagne (Bernanos / Bresson)
- My Childhood (Gorky / Donskoy)
Wilde and Lubitsch are soulmates. Lubitsch kept the subject, the story and the four-part structure of Wilde's play, threw away every witticism, added sequences of Mrs. Erlynne with Lord Windermere and a racetrack sequence where the reactions of the noble set to Mrs. Erlynne replace what Wilde expressed via dialogue. Of course, Lubitsch relishes the symbolism of the fan, the main prop, comparable to the cane in So This Is Paris. The character of Lady Windermere is not as childish as with Wilde. Wilde's play was an attack on Victorian hypocrisy, Lubitsch's film was produced at the height of the Jazz Age. Interestingly, he removed Wilde's frivolity and replaced it with gravity. The print does justice to the subtle visual elegance of the film, although apparently from duped source material; there is a full scale of black and white, and the tinting and toning is stylish. A great review by Darragh O'Donoghue:
Still the best Oscar Wilde film (that I have seen).
Wednesday, March 05, 2008
Sunday, March 02, 2008
RAILI AND REIMA PIETILÄ. CHALLENGING MODERN ARCHITECTURE (Exhibition at the Museum of Finnish Architecture)
From the official presentation: "The architecture of Raili (born 1926) and Reima (1923–1993) Pietilä, which became world famous during the 1960s, is experiencing a second coming in this exhibition, which uses original drawings to present the work of the husband and wife team in the form of some previously unseen designs and others that have attained iconic status in the history of architecture. A host of sketches shows, in a fascinating way, how in their search for design solutions every possible alternative is of equal value to start with, until eventually, the buildings acquire their final forms – forms which stretch the boundaries of modern architecture. The various models give the visitor an opportunity to observe, for example, how the architecture of the President’s Official Residence, Mäntyniemi (1983–93), evolved from the competition-winning proposal to the finished building.
At the same time as the Pietiläs began searching for a way forward for modern architecture, Reima Pietilä who was an active speaker and writer, began to enrich the potential of language as an instrument for understanding architectural problems. Re-evaluating the pluralistic world of Reima Pietilä, the challenger of modern architecture, the mystique often associated with him gets shorn.
Thanks to Raili and Annukka Pietilä’s donation to the Museum of the entire Pietilä drawing archive plus some other material, it has been possible to compile an illustrated and annotated catalogue of works for the new publication that is as comprehensive as possible. In addition to such world-famous buildings as Dipoli (1966), the Metso public library in Tampere (1985) and Suvikumpu (1969–82), the complexity and richness presented in the catalogue, not to mention the exhibition and the other material, brings the Pietiläs once more into the centre of the ever-topical problem field of the potential of architecture."
Personal comment: this is a concise exhibition focusing on the large projects of the Pietilä duo. They include two buildings that I have always been fond of: the Kaleva Church and the Metso Library in Tampere, modern architecture at its best. Pleasant details: designs for the atelier and the island hut of Tove Jansson (whose friend Tuulikki Pietilä was Reima's sister), and a collection of Reima's hand-knit wool caps.