For Immediate Release
Fall 2006 Film & Video Artists Series at Binghamton University
Department of Cinema
Series sponsored by Broome County Arts Council
Student Wing LECTURE HALL 6 Shows start at 7:30 p.m.
All artists will be on hand to present their works.
Thursday November 2nd, 7:30 PM LH6
Bill Brown: The Other Side and Short Films
THE OTHER SIDE (2006)
A 2000-mile journey along
the U.S./Mexico border reveals
a geography of aspiration and
insecurity. While documenting
the efforts of migrant activists
to establish a network of water
stations in the borderlands of
the southwestern U.S., Brown
considers the border as a
landscape, at once physical,
historical, and political.
Bill Brown is a filmmaker from the "Paris of the Plains," Lubbock, Texas. He has made several short experimental documentaries about the dusty corners of the North American landscape. Along with filmmaker Tom Comerford, Brown created the Lo Fi Landscapes tour, traveling across country in 2002 and 2005 with a program of short films concerned with history and place. The Museum of Modern Art hosted a retrospective of Brown's work in 2003 as part of its Media Scope series.
" Bill Brown's ROSWELL ... takes a fanciful, humorous look at the supposed crash of a flying saucer near Roswell, New Mexico in 1947, an 'event' UFO-types cite to this day as evidence of a massive government cover-up. Brown, a recent Harvard graduate who appears in the film and whose voice is heard on the sound track, seems to take the event seriously. He wonders what the craft was doing in Roswell of all places, speculating it was piloted by a 'star boy ... joyriding through the cosmos' who 'got lost and lost control.' But Brown also sees his subject playfully, as if through a child's eyes - objects suggest others, nothing has a stable meaning, flying saucers are fun. The film begins with a Frisbee flying through the air, a metaphor repeated many times. The fish-eye lens used for some landscape shots curves the horizon line, making the sky seem enclosed - navigable, traversable. In the film's strongest image Brown stands facing the camera with a sheaf of papers in his hand, as an animated drawing of a spaceship scoots across the paper, suggesting a connection between UFO fantasies and the magical possibilities of cinema." - Fred Camper, reviewing the Onion City Film Festival in the Chicago Reader.
Bill has received both Rockefeller and Creative Capital grants, and in November 2003, the Museum of Modern Art presented a retrospective of his work.
Tuesday November 14, 7:30 PM., Student Wing LH6
Unoccupied Zone: The Impossible Life of Simone Weil
A film by Cathy Crane.
Unoccupied Zone: The Impossible Life of Simone Weil, (2005, 16mm, b&w, 50 min.) Will be shown in Mini DV format.
This portrait is not simply an account of Simone Weil's life, but rather the skein of her ideas. The "unoccupied zone" is therefore only marginally meant to refer to the southern part of France under Vichy. It is more importantly an existential labyrinth imaged by the film itself; a psychic space through which Weil passed while in exile in her 99The film, shot in 16mm black-and-white, stages the "theatre" of her mind through a mise-en-scene whose rear screen projections of live-feed video and archival newsreels antagonize the spectacle of biographical reconstruction being played out by actors before it. The screen serves to distance the viewer from the fiction of fact while also representing Weil's own definition of a human life as "a composition on several planes."
CATHY LEE CRANE (media artist) first began making films in the late 1980s and earned several awards including best experimental films (CSU Media Arts Festival), best black and white photography at festivals (Cork film Festival). All of her short films have been broadcast on television in Germany, Austria by ZDF and were presented in a special filmmaker portrait in Germany at the Oldenburg Film Festival in April 2001 as well as in the United States on the Southern Circuit in March 2003. She has also directed music videos, created installations, and photographed numerous films for other directors, including I Thought I Was Seeing Convicts, the feature-length documentary project she also researched for Harun Farocki. She has lectured on the intersections between queer and experimental cinema and has curated a dozen short film programs in San Francisco, New York, and Europe. She currently teaches at Ithaca College.
Tuesday, November 28th, 7:30 p.m. LH6
Zoë Beloff: Films and 3D Performances
Zoë Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been exhibited in museums, Cinemas and galleries internationally. For example her films have been screened at: MoMA, The New York Film Festival, Rotterdam Film festival, and Pacific Film Archives. She participated in the 1997 and 2002 Whitney Museum of American
Art Biennials. Her interactive works are in the collections of the Kiasma Museum of Modern Art Helsinki and The Pompidou Center in Paris.
Zoë works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation. Her projects are philosophical toys, objects to think with. More and more she finds herself fascinated by phantoms, by images that, "are not there". She would like to think of herself as an heir to the 19th century mediums whose materialization séances conjured up unconscious desires, in the most theatrical fashion. Though lacking psychic abilities she confesses to relying on cinematic illusionism or one could say the cinematic "medium".
Zoë has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from NYSCA (1996, 2001, 2004) The Jerome Foundation (1998, 2000), Experimental Television Center Finishing Funds Award (1996, 2000,2002, 2004) She has had residences at Harvestworks Digital Media Arts and Hallwalls in Buffalo. Her recent installation “ The Ideoplastic Materializations of Eva C. ” won prize for best installation/new media work at the Images Festival in Toronto 2005.
Beginning in this same fashion, Chain collates material shot over a ten year period-20-40 hours of it in total-some of which also found its way into a 40-minute three-channel installation work (Chain x Three, 2000, with music by Godspeed). About halfway through the process, Cohen began to think of incorporating fictional narrative elements, which are much more pronounced here than in his earlier, Marker-like introspections."
Last Updated: 6/17/09