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THE 2012 FESTIVAL OF (IN)APPROPRIATION: Contemporary Found Footage Filmmaking
Spielberg Theater at the Egyptian
Los Angeles, CA
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THE 2012 FESTIVAL OF (IN)APPROPRIATION: Contemporary Found Footage Filmmaking
Sunday November 11, 2012, 7:30 pm
Los Angeles Filmforum presents
THE 2012 FESTIVAL OF (IN)APPROPRIATION:  Contemporary Found Footage Filmmaking
Filmmakers and curators 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.

Whether you call it collage, compilation, found footage, detournement, or recycled cinema, the incorporation of previously shot materials into new artworks is a practice that has generated novel juxtapositions of elements which have produced new meanings and ideas that may not have been intended by the original makers, that are, in other words "inappropriate." Founded in 2009, the Festival of (In)appropriation is a yearly showcase of contemporary short audiovisual works that appropriate film or video footage and repurpose it in "inappropriate" and inventive ways.
Curated by Jaimie Baron, Greg Cohen, and Lauren Berliner

Crop Duster Octet by Gregg Biermann (US, HD video, 5:30m, 2011)
In Crop Duster Octet, the iconic "crop duster" sequence from Hitchcock's North by Northwest in which Cary Grant is repeatedly attacked by a small airplane swooping from the sky is deconstructed into eight horizontal bands, each of which is slightly out of synch with the next. As the scene (and, in particular, Grant's body) is continuously deconstructed, the patterns of action are refigured and intensified, culminating in a crescendo of convergence.

Saskatchewan by Richard Wiebe   (US, 16mm on DV, 16m, 2012)
Using 16mm footage and Edison Voicewriter recordings created by family members many years before, filmmaker Richard Wiebe  whose family came from Saskatchewan but who grew up in North Carolina  paints a portrait of rural culture in the plains of Canada in the 1940s. Wiebe's father, grandparents, aunt, uncle and others now gone populate, along with trains and cattle, the stark but beautiful landscape.

I For NDN by Clint Enns and Darryl Nepinak (Canada, video, 1:34m, 2011)
In this short, humorous piece that comments on the implicit assumptions embedded in our most basic education, Clint Enns and Darryl Nepinak appropriate footage from an educational program designed to teach children their vowels  and an unsuspecting character finds himself serving as an example.

Scarlet by Sharon A. Mooney (US, video, 4:44m, 2012)
Audio samples culled from Jane Fonda films from the 1960s and '70s are woven together over lenticular images of sexpot aliens, which are physically tilted to transform one image to the other. The meditative soundtrack combined with snippets of dialogue generates a hypnotic atmosphere in which the strange visual transformations seem to reflect our distorted perceptions of ourselves.

Cat Scannd by Michael Guccione (US, video, 3:27m, 2010)
Guccione became interested in how a TV image is built, namely the NTSC standard, a series of scanned lines on alternating fields of 262  lines resulting in a composite of 525 lines of picture signal.  He wanted to slow down what took place in nanoseconds to a perceivable movie experience without having to be literal, and he came across one of the first televised images scanned mechanically during the late '20s by RCA which was cartoon character Felix the Cat made up of just 60 lines. The early experimenters placed a 13" paper mache effigy of Felix on a turntable and aimed the camera point blank at their smiling model as they toiled at making television a viable visual medium. Emerging from this background is an animated piece interfacing homemade constructions of the 1959 Felix cartoons with a layman's take on television's scanned lines and added pinches of Hans Richter, Paul Hindemith, Tor Johnson and others.

Night Hunter by Stacey Steers (US, 35mm on HD video, 15:30m, 2010)
Meticulously crafted from approximately 4000 handmade collages and incorporating images of Lillian Gish taken from silent-era live-action cinema, Night Hunter evokes a disquieting dreamscape drawn from allegory, myth, and archetypes. Images from four silent-era films featuring the actress Lillian Gish are combined with 18th and 19th century engravings to create rich, timeless, imaginative environments. Transitions, both biological and metaphorical, are central themes. In some instances Gish is cut out of specific scenes and reconfigured in collage environments, while collage materials are applied directly to printed film frames in others. The subsequent fluidity of character becomes a critical element in the texture of the film and the identity of the principal character. Night Hunter was shot on an Oxberry animation stand in 35mm using a Mitchell camera. Music and sound by Larry Polansky.

Machine Language by Robert Todd (US, video, 5:30m, 2012)
In Part 3 of Robert Todd's "Future Perfect" series, which highlights the digital grammar of Star Wars Episodes 1-3, robots speak to one another in series of blips and beeps that  isolated from their narrative contexts and human dialogue  become a mysterious poetry that suggests communication but also refuses to cohere into comprehension.

La Salle Hotel by Scott Fitzpatrick (Canada, 35mm on video, 2m, 2011)
An abstracted depiction of the 1946 fire at the La Salle Hotel in Chicago, Illinois, where even the frame itself threatens to collapse. Archival footage is broken down digitally, colourized, and laser-printed directly onto 35mm film.

Revving Motors, Spinning Wheels (Action Painting) by Jeremy Rotsztain (US, video, 4:05m, 2011)
Revving Motors, Spinning Wheels (Action Painting) is an animated digital painting composed using cinematic gestures from Hollywood action films. High-octane moments from car chases  humming motors, screeching turns, and crashes  are digitally extracted and transformed into colorful abstract expressionist gestures in the tradition of Jackson Pollock. The Action Painting series brings together the adrenalin-filled culture of action cinema and the formalist canon of modernist painting; it follows the recent cultural trend of aestheticizing violence, and pushes it to an exaggerated level.

Forsaken by Heidi Phillips (Canada, 16mm on video, 4:30, 2012)
In Forsaken, Phillips abstracts images selected from found footage using contact printing, hand tinting, and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.

Youtopia by Danial Nord (US, video, 2:29m, 2011)
Danial Nord continues his indictment of contemporary culture by manipulating the tools of mass communication. In his digital video Youtopia, the artist captures hyperlinked reality to poke fun at the curatorial process in the age of misinformation. After receiving an email with a link to the New York Times article titled: "Guggenheim and YouTube Seek Budding Video Artists," Nord created virtual assistants to investigate. Their automated inquiries, skewed by database hierarchies and software glitches, produce convoluted associations and misguided conclusions. The search results, texts, and screen-grabs are 'real', but the electronic helpers have ulterior motives, blurring boundaries between artificial intelligence and the human psyche. Youtopia highlights the general state of affairs in our quick-to-click culture.

Ghost of Yesterday by Tony Gault. (US, video, 5:30m, 2012)
This collage of rotoscoped home movies is inspired by childhood memories of religion and altered consciousness. The film explores our collective abandonment of analog imagery and is Gault's personal attempt to reconcile with digital imagery.

Retrocognition by Eric Patrick (US, video, 17:37m, 2012)
An animated collage of photographs and audio fragments from WWII era radio dramas critique the classic American televisual nuclear family.

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 16 & 18  John Smith, from the UK
Dec 2  "Empty Quarter" with Alain LeTourneau and Pam Minty in person!
Dec 5  Gunvor Nelson
Dec 9  The Ann Arbor Film Festival Tour

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
Memberships available, $70 single, $105 dual, or $50 single student
Contact us at lafilmforum@yahoo.com.  www.lafilmforum.org
Become a fan on Facebook and Follow us on Twitter!


Spielberg Theater at the Egyptian (View)
6712 Hollywood Blvd.
Los Angeles, CA 90028
United States


Film > Premiers

Dog Friendly: No
Non-Smoking: Yes!
Wheelchair Accessible: Yes!


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