Movie houses all over the world will be taking part in the first ever, REEL FILM DAY and Sun-Ray Cinema is digging deep into San Francisco’s Canyon Cinema archive to present some rarely seen 35MM short experimental works that will hopefully prove to expand your notion of what cinema can be while celebrating a format that is more than relevant despite all the ballyhoo about digital.
The following will be presented on 3/5 (get it?) at 1:30p.m.
Coming Attractions-Peter Tscherkassky
“Tscherkassky’s recent, most beautiful film Coming Attractions creates a complex mosaic of cross-references – both formal, between shots, and historical, between periods and genres. This film demonstrates the extreme textual density found footage can achieve, interweaving early cinema, the avant-garde and commercial advertising. (…) It explores the solicitation of the viewer’s attention and desire implied by the term ‘attraction’ through the coy glance and the revealing display. In the Kuleshov tradition, Tscherkassky absolutely creates a new film from his found footage, but still he delivers to us discoveries drawn from the orignal footage, revelations about the nature of film and our fascination with it.” – Tom Gunning
Poetry and Truth/Dichtung und Wahrheit- Peter Kubelka
Dichtung und Wahrheit contains collected pieces from publicity films with a common element: they show actors before they start and begin to play what they are directed to represent. Repeated ready made takes create cycles of symbolic significance and glorified glimpses of the contemporary human condition: the beauty from a hair conditioner, courting and insemination by chocolate feeding, labourless birth onto a varnished floor, animal and inanimate companions. It was my aim not to shape the found material perfectly into an unambiguous message but to preserve the full richness of archealogical information. My point of view has changed from the contemporary artists into an observer looking into the distant past.
sound of a million insects, light of a thousand stars- Tomonari Nishikawa
I buried a 100-foot 35mm negative film under fallen leaves alongside a country road, which was about 25 km away from the Fukushima Daiichi Nuclear Power Station, from the sunset of June 24, 2014, to the sunrise of the following day. The night was beautiful with a starry sky, and numerous summer insects were singing loud. The area was once an evacuation zone, but now people live there after the removal of the contaminated soil.
Traces- Scott Stark
Worldly surfaces, shifting shadows and overlooked patterns: a series of short
35mm films generated from digital still images and printed onto movie film. The
top and bottom half of each image alternate in the projector gate, and the images
are arranged in a dizzying array of rhythms and patterns. The images also bleed
onto the optical soundtrack area of the film, generating their own unexpected
Happy-End- Peter Tscherkassky
“HAPPY-END is a found-footage film. The original material stems from a Viennese married couple who filmed themselves over the 1960s and ’70s. The films were shot from a tripod, using a shutter release extension cable. They are cheerful documentaries of various celebrations where the camera is, quite naturally, included in the company. At first glance the compression ofthe shots in HAPPY-END works as a comedy with partly involuntary participants. But the obvious light-heartedness and joie de vivre is so infectious that one cannot laugh at them, only with them. At the same time, HAPPY-END is a requiem for two people who died long ago. The vanity of human existence peeps between egg liqueur and sweet cakes. In the end HAPPY-END is a tragicomedy.”
– Bert Rebhandl