Saturday, May 7, 2016 / Echo Park Film Center
New Works Salon XXXIII
John Cannizzaro Dodecahedron (2013–16)
16 minutes, 16mm, three projectors, sound.
A light-hearted primer on image making. Using three 16mm film projectors and a separate sound source, this film “happening” explores the multi-layered process of capturing images. This film was commissioned by EPFC on our 12th anniversary!
Gina Napolitan A Stranger in the Earth (2016)
4 minutes, 35mm slides & 16mm, sound.
This double projector piece chronicles a deep sea diver’s descent into the depths. Victorian engravings and mid-20th century medical graphics describe an abstract vision of his journey into unfamiliar territory, the injuries he sustains, and his eventual recovery.
Alee Peoples If You Can’t See My Mirrors, I Can’t See You (2016)
12 minutes, 16mm, sound.
An exercise on the frame. An equal exchange between friends.
Christina Nguyen Parallel Inquiries (2016)
10 minutes, 16mm, color and b&w, sound.
Images vibrate, colors pulse, and light touches the emulsion, waiting to be heard.
Calvin Frederick Sluggers Anonymous (2016)
2.5 minutes, Super 8, color, sound.
A brief tour of the halls at the Museum of Righteous Dudes. Commissioned by EPFC!
Calvin Frederick Agrabagrabah (2014)
4.5 minutes, video.
September 11, 1991/2001/2057.
Penelope Uribe-Abee Distant Lover (2016)
9 minutes, video, sound.
Part of an ongoing visual research project situated around feelings of distance, resilience, music, and incarceration.
Penelope-Uribe-Abee Mi Querida Diáspora (2016)
3 minutes, video, sound.
This video partly echoes the story of my grandfather, who I never met The film highlights the ways that I have come to know him. Being part of a diaspora is special in the way that gaps in history and lineage are filled in with people like Cary Grant, and the Tapatío man.
Thom Andersen A Train Arrives at the Station (2016)
15 minutes, video.
This film was a gift to me. I make no claims for it, nor do I offer any apologies. It comes from work on The Thoughts That Once We Had. There was one shot we had to cut whose loss I particularly regretted. It was a shot of a train pulling into Tokyo station from Ozu’s The Only Son. So I decided to make a film around it, an anthology of train arrivals. It comprises 26 scenes or shots from movies, 1904–2015. It has a simple serial structure: each black & white sequence in the first half rhymes with a color sequence in the second half. Thus the first shot and the final shot show trains arriving at stations in Japan from a low camera height. In the first shot (The Only Son), the train moves toward towards the right; in the last shot, it moves toward the left. A bullet train has replaced a steam locomotive. So after all these years, I’ve made another structural film, although that was not my original intention.