Austrian Film Museum: April 22-24, 2009 In contrast to their canonized predecessors like Maya Deren, Kenneth Anger, Stan Brakhage, Andy Warhol and Michael Snow, the younger generations of American experimental cinema are virtually unknown in Europe. Yet this independent film movement continues unabated. Notwithstanding the current “digital standard”, innovative work with film is undergoing a renaissance in North (and South) America.
This revival manifests itself not only in the captivating works of new artists who have broken onto the scene, but also in new festivals and film-cultural initiatives, in critical reception (particularly among young online writers) and in the art world, where film projections are again playing a paradoxical "avant-garde role" vis-à-vis the omnipresence of video installation.
Founded ten years ago, TIE - The International Experimental Cinema Exposition has been an ideal platform for these new generations of filmmakers (as well as for rediscoveries from previous decades). After several enthusiastically received events in North and South America, TIE is making its first guest appearance in Europe, at the invitation of the Film Museum. TIE's founder/curator, Christopher May, will personally introduce four curated programs with a total of 45 works. These include films by several important artists who have yet to be discovered in Europe.
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Program 1 Powerman (1966) by Lenny Lipton. 5 min, 16mm
Shudder (top and bottom) (2001) by Michael Gitlin. 3 min, 16mm
Transaension (2006) by Dan Baker. 7 min, 16mm
Metaphysical Education (2003) von Thad Povey. 4 min, 16mm
dippingSause (2005) by Luther Price. 10 min, 16mm
FILM (dzama) (2001) by Deco Dawson. 23 min, 16mm
And We All Shine On (2006) by Michael Robinson. 7 min, 16mm
Observando el Cielo (2007) by Jeanne Liotta. 19 min, 16mm
The Crossing (2007) by Timoleon Wilkins. 6 min, 16mm
Black and White Trypps Number Three (2007) by Ben Russell. 12 min, 35mm
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Program 2 NYC Flower Film (2003) by Sandra Gibson. 3 min, Super-8
Parallax (2008) by Christopher Becks. 6 min, 16mm
Ecstatic Vessels (2007) by Diane Kitchen. 21 min, 16mm
You Don't Bring Me Flowers (2005) by Michael Robinson. 8 min, 16mm
To Be Regained (2008) by Zach Iannazzi. 10 min, 16mm
Angel Beach (2001) by Scott Stark. 25 min, 16mm
A Fall Trip Home (1964) by Nathaniel Dorsky. 11 min, 16mm
July Fix (2006) by Jason Livingston. 3 min, 16mm
The Parable of the Tulip Painter and the Fly (2008) by Charlotte Pryce. 4 min, 16mm
Ingreen (1964) by Nathaniel Dorsky. 12 min, 16mm
Bellagio Roll (2003) by Sandra Gibson. 3 min, Super-8 |
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Program 3 Blocking (2005) by Pablo Marin. 2 min, 35mm
Progetti (1962) by Paul Bartel. 17 min, 16mm
Mylar Balloon Rip-off (2007) von Jason Halprin. 3 min, Super-8
Whirl (2007) by Scott Banning. 8 min, 16mm
While Revolved (1976) by Vincent Grenier. 10 min, 16mm
[Various 8mm Works] (2000-2009) by Frank Biesendorfer. 17 min, 8mm
Space (2001) by Luis Recoder. 14 min, 16mm
My Mess (2007) by Jesse Kennedy. 4 min, Super-8
1/48 (2008) by Jorge Lorenzo. 1 sek, 35mm
Clip from Colorado Springs Home of Champions (1968) by Jim Prange. 4 min, 16mm
Double Your Pleasure (2002) by M.M. Serra. 4 min, 16mm
90 Years (2008) by Jonathan Schwartz. 3 min, 16mm
Across the Rappahannock (2003) by Brian Frye. 11 min, 16mm |
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Program 4 What the Water Said, nos. 4-6 (2007) by David Gatten. 17 min, 16mm
In a Year with 13 Deaths (2008) by Jonathan Schwartz. 3 min, 16mm
Oblivion (1969) by Tom Chomont. 4 min, 16mm
Black and White Trypps Number Two (2006) by Ben Russell. 8 min, 16mm
The Fourth Watch (2000) by Janie Geiser. 9 min, 16mm
Spirit House (2008) by Robert Todd. 11 min, 16mm
Artifices #1 (2008) by Alexandre Larose. 4 min, Super-8
Sin título (Focus) (2008) by Pablo Marin. 4 min, Super-8
Film (Parkour) (2008) by Cine Parkour. 20 min, Super-8 (3-Panel)
Nothing Is Over Nothing (2008) by Jonathan Schwartz. 16 min, 16mm
Sacred Space (2007) by David Chaim Cohen. 14 min, 35mm |
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Call for Entries TIE seeks films that challenge popular and conventional modes of the moving image. From difficult and hand-made films to extraordinarily radical and obscure compositions, TIE selects only outstanding celluloid cinema from the outer-spaces of contemporary screen-culture.
If a submitted film is selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm, 35mm). All lengths, completion dates/years and countries are considered. A nominal entry fee is required. Films are considered on an ongoing basis.
Click here for Submission Form |
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Contact Us Universities, art centers and curtural organizations: Contact us about the possibility of hosting TIE: 303.408.4623 or festival@experimentalcinema.org |
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