Rose Lowder: Colorful Frames
Sunday November 4, 2012, 7:30 pm
Los Angeles Filmforum presents
Rose Lowder: Colorful Frames
Rose Lowder in person!
At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028
Tickets: $10 general; $6 students/seniors; free for Filmforum members.
Filmforum continues bringing renowned experimental film artists from elsewhere this season, continuing with an extremely rare visit from France of filmmaker Rose Lowder.
Rose Lowder is one of Europe's most influential and celebrated cinematic treasuresa filmmaker and scholar who first trained as a painter and sculptor, then later studied with filmmaker Jean Rouch. Since 1977 she has made over fifty experimental films, many of them shot frame-by-frame in rural Europe. Whether filming the view from her Avignon window, the French countryside, or centuries-old structures, Lowder composes highly charged, multiple-perspective mosaics that explore nature's visual wonders and the underlying ecology of specific places. She investigates the world around her with a scientist's precision, and exalts it with a singular vibrancy of form and color. Scott MacDonald has observed, "The most memorable of Lowder's films are experiments in creating distinct visual experiences that, in their reduction of day-long phenomena into brief, precise, intense cinematic moments, sing the potential of an ecological film aesthetic."
After training as a paintor and sculptor in artist's studios and art schools in Lima (The Art Center, La Escuela de Bellas Artes) and in London, Rose Lowder worked in London as an artist while earning a living in the film industry as an editor. From 1977 onwards she concentrated on studying the visual aspect of the cinematographic process, and was encouraged by Jean Rouch and his staff at the University de Paris X to present some of her work as a thesis under the title The experimental film as an instrument towards visual research (1987).Since 1977 Lowder has been active programming rarely shown films. In order to make this body of work available to a wider public, she constituted a collection of films and paper documents, The Experimental Film Archive of Avignon (1981). Since 1996 Lowder is also associate professor at the University de Paris I.
Special Thanks: Kathy Geritz, Pacific Film Archive, Steve Anker, Bérénice Reynaud, Mia, Cinema Project
Parcelle (1979, 3 min., silent)
Composed frame by frame in the camera, Parcelle (fragment, particle or bit) rests upon the alternate appearance and variable duration of tiny coloured squares or circles painted on black backgrounds and inserted in series between plain white or coloured images. Although the film may appear conventional on a technical level, conceptually this is not the case given that the work is based on situations where the sense of perception processes images in various time lengths according to the characteristics viewed. - R.L.
Couleurs mécaniques (Mechanical Colours) (1979, 16 min., silent)
Couleurs mécaniques presents, in the order they were filmed, six different viewpoints of a merry-go-round. In each case the focus is adjusted so as to select, isolate and inscribe parts of the filmed scene onto the film strip in a way that allows elements of color in movement to be recombined in a particular manner during the projection of the film. Couleur mécaniques shares similar concerns to those found in Roulement, rouerie, aubage.
Champ Provençal (Provençal Field) (1979, 9 min.)
Champ Provençal presents a frame by frame construction of a peach orchard at three different periods from a single viewpoint : with pink blossom (April 1), with green leaves (April 16) and with red-yellow peaches (June 24). Although the filming procedure is similar to that of Rue des Teinturiers, the recording processes controlling the organization the material in Champ Provençal are adapted to specific characteristics of the location with the aim of setting up another visual experience.
Les tournesols (Sunflowers) (1982, 3 min., silent)
The film treats a field of sunflowers. The focus is adjusted frame by frame in succession according to a series of patterns on particular plants situated in different parts of the field. The diverse configurations placed on separate frames of the film strip appear, when projected successively, simultaneously on the screen to form one spatiotemporal image. - R.L. Preview it here: http://lightcone.org/en/film-909-les-tournesols.html
Bouquets 1-10 (1994-95, 11.33 min, 16mm)
Bouquets 1-10 is Lowder's first collection in an ongoing series of one minute episodes, each composed of footage shot around a general geographic location that has been alternately woven, frame by frame, into a single film reel and connected through the interstitial still life image of a flower that cues the beginning of each integrated film Bouquet. In Bouquet 1, a day of leisure at Mount Ventoux, Vaucluse juxtaposes the vibrant image of indigenous flowers with the equally colorful bins of candy. In Bouquet 2 a seemingly uninterrupted study of flowers near the village of Brantes is eventually disrupted by the passing of cyclists in the last few moments of the film. Perhaps the most memorable is Bouquet 3, set in the village of Roquevaire, Var on the banks of the Huveaune River featuring a nondescript, old-fashioned pedestrian bridge that, interwoven with images of colorful wildflowers, optically transforms into impressionistic, Claude Monet-like compositions. In Bouquet 4 wildflowers and weather worn local handicrafts represent the slowly disappearing, rustic panorama of Beauduc, Camargue, Bouches-du-Rhône. Bouquet 5 illustrates the inevitable intersection between environment and technology as commuters figuratively share the same space as a field of poppies near the Marseille-Paris railway line. Work and leisure intersect in Bouquet 6 at a fishing harbor in Vesse, Bouches-du-Rhône, as boats are summarily abandoned in favor of a recreational swim in the idyllic blue waters. The image of water carries though to the therapeutic springs of Fosse Dionne in the medieval town of Tonnerre in Bouquet 7, where the wildflowers emerge from the interstices and abandoned ruins. In Bouquet 8 the absence of flowers on the beach at Beauduc, Bouches-du-Rhône is replaced by brightly colored sailboards that dart in and out of the horizon. The uneasy intersection between humanity and environment resurfaces in Bouquet 9 on the open fields near Signes, Var as assorted, discarded junk litter a field of buttercups. In Bouquet 10, the swarm of pollinating insects near the conclusion of the episode serves as a tongue-in-cheek metaphor for the influx of vacationing tourists on Lake Serre-Ponçon, Hautes-Alpes near a pastoral town on the mountain ranges of St. Apollinaire. Acquarello, http://filmref.com/notes/archives/rose_lowder/
Two Pictures (in collaboration with Carl Brown) (1999, 12 min.)
Sound : Carl Brown
Habitat, Batracien/Batrachian (2006, 8.31 min)
Beijing 1988 (1988-2011, 12:17 min.)
Music : François Alexis Degrenier
China seen from Beijing May 1988, a year before the Spring 1989 Tia'nanmen rebellion, where the ancient traditional philosophies and social practices confront the political and economical ideological ambitions of the State.
This is the first of three different shows, with part 2 at REDCAT on November 5 and part 3 at Cal Arts on November 6. See http://www.redcat.org/event/rose-lowder for notes on the REDCAT show
Filmforum's screening series is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; the Andy Warhol Foundation for the Visual Arts; and the Metabolic Studio. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.
Coming Soon to Los Angeles Filmforum:
Nov 11 Festival of (In)appropriation
Nov 16 & 18 John Smith, from the UK
Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation. 2012 is our 37th year
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