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Single
Shot
Lumen | 21 March 2007
Further
information »
Super 8 films and performance by John Porter
Lumen | 6 February 2007
Further
information »
Cinema of Prayoga
Lumen | 2 December 2006
Further
information »
Big Screen launch event hosted for Cornerhouse by Lumen
Lumen | 13 September 2006
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information »
Gastronomy
Lumen | 13 February 2006
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David Lamelas: Time is a Fiction
Lumen | 21 January 2006
Further information »
Something of the Night: Five film screenings curated by Lumen
Leeds City Art Gallery | 22 October
- 26 November 2005
Further information »
Found Footage
Leeds Central Library | 3-13 November
2005
Further information »
Lillian Schwartz: A Beautiful Virus Inside the Machine
Ocularis, New York | Lillian Schwartz
in person | 18 September 2005 | Further
information »
3 Films by Stan Brakhage
Leeds Central Library | 13 August
2005 | Further information
»
3 Films by Michael Snow
Leeds City Art Gallery | 30 July
2005
Further information »
LoVid at Lumen
Lumen, Monarch House, Queen Street,
Leeds | 19 July 2005
Further information »
Patrick Keiller:
The City of the Future
24 May 2005 | The Leeds Club
Further information »
Karen Mirza / Brad Butler / no.w.here
23
April | Leeds Central Library | 7pm
Further
information »
Margaret Tait:
Subjects and sequences
20 & 27 March 2005 | Leeds
Central Library
Further information »
Reverence: The films of Owen Land
25 & 26 February 2005 | Leeds
Central Library
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information »
Lillian Schwartz:
A Beautiful Virus Inside the Machine
21 January 2005 | PureScreen, Salford
Further information »
Antenna by Robert Whitman
29/30 October 2004 | Leeds
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information »
Evolution 2004
1-6 November 2004 | Leeds
Further
information »
It's all here and now and the future
5 March 2004 | Leeds
Further
information »
Evolution 2003
9-11 October 2003 | Leeds
Further
information »
Artists talk: Bill Fontana
22 May 2003 | Leeds
Further
information »
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Found
Footage
Presented by Lumen and the Leeds International
Film Festival
For many years the use of found footage has provided artists and
filmmakers with a cheap, accessible and endless supply of material
for constructing brand-new films. In this special strand of the
film festival, everything from home movies to Hollywood features,
newsreels to early cinema, are cut-up, pulled apart and re-contextualised
to create new meanings, stories and relationships. Through short
films, features and a unique live performance, different approaches
to the use of found material will be explored - from pop-art
collages to cinematic archeology. The programme features a unique
audio-visual performance by People Like Us; Californian avant-garde
filmmaker Pat O’Neill presenting his new film; a specially
curated found footage edition of the Audible Picture Show;
and a programme of American archival home movies put together by
San Francisco based curator Stephen Parr. UK premieres include
World Mirror Cinema. Episode 1-3, Gustav Deutsch’s
beautiful deconstruction of silent film footage; and Panorama
Ephemera by US archivist Rick Prelinger. Other new works include
El Perro Negro by Hungarian artist and social historian
Peter Forgács; a typically idiosyncratic new ‘mockumentary’
by the great Werner Herzog; and new short films by Ken Jacobs, Fred
Worden, Siegfried A. Fruhauf, Peter Tscherkassky, Lawrence Jordan
and Dominic Angerame amongst many others.
Venue: all screenings will take
place at Leeds Central Library, The Headrow, Leeds, LS1 3AB
Tickets: £5.50 full price;
£4.50 concessions
Book in advance and save money, buy 6 tickets for the price of 5
or 15 for the price of 12. Applicable to all events in the Leeds
International Film Festival. To purchase tickets call 0113 2243801
or visit Leeds City Centre Box Office (Leeds Central Library, The
Headrow, LS1 3AB; open Monday - Thursday 10am - 5.30pm;
Friday and Saturday 10am - 5pm). Tickets are also available
online at www.leedsfilm.com or on the door of the venue 30 minutes
prior to the event (subject to availability)
Dislocated Sequences
Various artists, 95 mins
Friday 4 November, 7.30 -
9.05pm
Surface Noise film still;
Mirror Mechanics film still
A programme of shorts in which film sequences are lifted from the
safety of their original reels, and re-born in new cinematic landscapes.
At the Academy (Guy Sherwin) is a composited film made
entirely from leader normally used to cue the start of a film. In
Here (Fred Worden) Laurence Olivier and Georges Méliès
are brought together in an optical rendezvous. The Big Stick/An
Old Reel (Saul Levine) intercuts Charlie Chaplin shorts with
footage of police crowd control and street fighting. In Stadt
in Flammen (Schmelzdahin) the Canadian feature film Ville
en Flamme was buried in the garden until it began to disintegrate.
Surface Noise (Abigail Child) is an acutely edited montage
of found material. Mirror Mechanics (Siegfried A. Fruhauf)
re-works footage of a woman looking in a bathroom mirror with symmetrical
double reflections and multiple exposures. In Her Fragrant Emulsion
(Lewis Klahr) fragments of films are stuck together then force fed
through a projector. Instructions for a Light and Sound Machine
(Peter Tscherkassky) pushes the protagonist of a Hollywood Western
through his filmic death and afterlife.
Films: At the Academy
(Guy Sherwin, 1974, 5 mins, 16mm, UK); Here (Fred Worden,
2005, 11 mins, video, USA); The Big Stick/An Old Reel (Saul
Levine, 1967-73, 18 mins, 16mm, USA); Stadt in Flammen
(Schmelzdahin, 1984, 5 mins, 16mm, Germany); Surface Noise
(Abigail Child, 2000, 18 mins, 16mm, USA); Mirror Mechanics
(Siegfried A. Fruhauf, 2005, 7 mins, 35mm, Austria); Her Fragrant
Emulsion (Lewis Klahr, 1987, 10 mins, 16mm, USA); Instructions
for a Light and Sound Machine (Peter Tscherkassky, 2005, 17
mins, 35mm, Austria)
Cut-outs and Collages (featuring
a live perfromance by People Like Us)
Various artists, 90 mins
Saturday 5 November, 7.30 - 9pm
Chateau Poyet film still; Daylight Moon film still
Short films and a unique live performance - impossible cut-out
collages and pop-art play. Story Without End (People Like
Us) mixes archival films to suggest that the more we plug ourselves
in, the less connected we become. Meatdaze (Jeff Keen)
is a complete film programme in one - animation at the speed
of light. Chateau Poyet (Lawrence Jordan) uses the filmmaker’s
favourite ancient engravings to make improbable incidents unfold
across the screen. In Daylight Moon Lewis Klahr conjures
a sense of empty melancholy using 1950s imagery. The evening will
conclude with an audio-visual performance by People Like Us, collaging
audio and video into a witty, dark and surrealistic view of popular
culture.
Films: Story Without End (People
Like Us, 2005, 6 mins, video, UK); Meatdaze (Jeff Keen,
1968, 10 mins, 16mm, UK); Chateau Poyet (Lawrence Jordan,
2004, 6 mins, 16mm, USA); Daylight Moon (Lewis Klahr, 2003,
14 mins, 16mm, USA); Metropolis of Recklessness (Thomas
Draschan & Ulrich Wiesner, 11 mins, 16mm, Germany) People Like
Us live performance (35 mins)
The American Eye: From San Francisco to Samoa
Sunday 6 November, 7.30 - 9pm
A very special screening of archival American home movies shot at
home and abroad, compiled by Stephen Parr from his San Francisco based
Oddball Film + Video collection. Featuring snow dogs in the Sierras,
house-moving in Oakland, a double wedding in Michigan, a swinging
vacation in Matzatlan, an idyllic village in Nazi Germany, and a vanishing
whale in New Zealand. Stephen Parr is the
director of Oddball Film + Video and the San Francisco Media archive,
he is also the founder of Other Cinema DVD.
El Perro Negro: Stories from the Spanish
Civil War
Peter Forgács, 2004, 84 mins, video,
Hungary
Monday 7 November, 8.15 - 9.40pm
El Perro Negro film stills
El Perro Negro is the latest experimental documentary from
Hungarian filmmaker and archivist Peter Forgács which continues
to unravel the private history of twentieth century Europe through
home movies recorded by hobbyist filmmakers. Here, a family of Catalan
industrialists record their lives from the late 1920s onwards, as
their nation is disrupted by labour unrest, the collapse of the monarchy,
the rise of anarchism, and finally the Spanish Civil War.
Panorama Ephemera
Rick Prelinger, 2004, 90 mins, video, USA
Tuesday 8 November, 8.15 - 9.45pm
Panorama Ephemera video still
Panorama Ephemera consists of sixty-four individual film
sequences drawn from a wide variety of ephemeral films which tour
the conflicted landscape of twentieth-century America. The sequences,
which range from five seconds to five minutes in length, at first
resemble a compilation, but soon reveal a narrative with a cast
of children, animals, farmers, industrial workers, superheroes and
crash test dummies. The film’s director Rick Prelinger is
a film archeologist who has called himself ‘a mad historian
without a diploma’.
Reporting Back/The Beginning of Time
Various artists, 85 mins
Wednesday 9 November, 8.15 - 9.40pm
Louis Aimé Augustin Le Prince - Leeds Bridge
video still; Anaconda Targets video still
News reports, military footage, and early films from San Francisco
and Leeds are the subject of these five short films. Anaconda
Targets (Dominic Angerame) presents cockpit footage from a
military plane as it bombs Afghanistan. Television Assassination
(Bruce Conner) presents the assassinations of JFK and Lee Harvey
Oswald from the domesticity of the TV set. Perfect Film (Ken
Jacobs) is a TV newscast from 1965 which was deemed to be perfect
just as it was. Eureka (Ernie Gehr) reframes an early recording
from San Francisco and Louis Aimé Augustin Le Prince
- Leeds Bridge (Jacobs) probes the infinity of Le Prince’s
1888 film of Leeds Bridge.
Films: Anaconda Targets (Dominic
Angerame, 2004, 12 mins, video, USA); Television Assassination
(Bruce Conner, 1963-95, 14 mins, 16mm, USA); Perfect Film
(Ken Jacobs, 1986, 21 mins, 16mm, USA); Eureka (Ernie Gehr,
1974, 30 mins, 16mm, USA); Louis Aimé Augustin Le Prince
- Leeds Bridge (Jacobs, 2005, 6 mins, video, USA)
The Wild Blue Yonder
Werner Herzog, 2005, 81 mins, video, Germany
Thursday 10 November, 7.30 - 8.55pm
The Wild Blue Yonder film still
Werner Herzog’s latest film The Wild Blue Yonder is
a typically inspired union of cinematic bravado and lunacy, a ’mockumentary’,
ostensibly about a disgruntled alien’s reminiscences of the
long journey from the Andromeda galaxy to earth. Although the alien
is played with crazy-eyed conviction by Brad Dourif, the whole exercise
is really an excuse to reinvent a series of ethereally beautiful sequences
shot by NASA on a space shuttle mission in zero gravity and some extraordinary
Arctic underwater diving scenes, all to a hypnotic score of Sardinian
polyphonic harmonies.
Audible Picture Show: Found Footage
Special
Friday 11 November, 7.30 - 8.50pm
Jaded by a world bombarded with images? Let the Audible Picture
Show remind you what cinema is capable of. Matt Hulse’s
Audible Picture Show is a growing collection of works by
various artists responding to the challenge of creating short audio
works for a dark cinema. Using sound alone, this ingenious experiment
leads the audience through imagined places and provides a welcome
exercise for the minds eye. This edition of the show has been put
together with a special found footage flavour.
Trouble in the Image: Films by Pat O’Neill
Saturday 12 November, 7.30 - 8.50pm
Trouble in the Image film stills
‘In O’Neill’s films, boundaries fade; narratives
collapse, and layers of images draw the viewer simultaneously towards
and away from linear meaning.’ Since the early 1960s, eminent
Los Angeles based artist and filmmaker Pat O’Neill has combined
a mastery of optical effects with found footage, experimental montage
and compositing techniques to create seamless streams of moving images.
Including Trouble in the Image, Coreopsis and the
premiere of a brand new work Horizontal Boundaries. Pat O’Neill
will be present to introduce his films and answer questions.
Films (all Pat O’Neill): Trouble
in the Image (1996, 38mins, 35mm, USA); Coreopsis (1998,
6 mins, 35mm, USA); Horizontal Boundaries (2005, 20 mins,
35mm, USA)
World Mirror Cinema. Episode 1-3
Gustav Deutsch, 2005, 92 mins, 35mm, Austria
Sunday 13 November, 7.30 - 9.05pm
Three archival films from the streets and squares of Vienna, Surabaya
and Porto provide the starting point for Gustav Deutsch’s new
film. Each episode is based on a historical camera pan around a bustling
public space containing a cinema. By isolating areas of the image,
the films are probed for hidden hyperlinks to archival footage from
cinema and world history - passers by seem to open portals to
a parallel cinematic dimension in time. For Deutsch, the cinema offers
a mirror to the world.
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