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Synopsis
Three-screen film. On the first screen, close-ups of an agitated match in front of a young woman's fearful face. On the soundtrack: matches, warnings of a rattlesnake, the phrase: "Listen, I will not speak." The ribbon runs at variable speeds, sometimes blurring, sometimes slowing down, to stop, on which the image / celluloid begins to fry and to burn, then leaves, runs, stops again, leaves again ... On the second screen we see the first rephotographed; here the "burns" are both fixed or new (a burn in the second degree). On the third screen, we see the second screen rephotographed. The subject of the film is the fragility of the film, as medium, as well as the vulnerability of man. Both the film and the figure resist threats / intimidation / mutilations.
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Theatrical
02 Feb 1982
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USA
USA
More
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Sometimes a film’s brilliance is so self-evident that words feel pointless to describe it. Wollen once wrote on Sharits’ desire to create film in dialogue with its own material substrate — to foreground the optical and photo-chemical processes, the materiality of the film-stock, and the elements of projection — and subsequently restructure the usual hierarchy of object-recording and meaning-production; in other words, to turn cinema inwards so the very medium, as a research tool, can explore its own linguistic structure. “These need not lead to meaninglessness because a principle of ‘self-referentiality’ is introduced, so that film is about itself and its own structure. Film, because of its ‘duality of being’, can be both an autonomous object and also its own…
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As the projectionist this film gave me anxiety.
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Going to hope the single-screen version is intentionally silent because otherwise I seem to be missing half the experience, but this is a step up for Sharits’ purely rephotography-based works, a lot more direct and exploratory to me than Color Sound Frames or the one of the Analytic Studies I’ve seen, and like Sharits’ best work, it’s touched by a genuinely haunting threat of violence - although I think the film made from the outtakes, Bad Burns, is even more potent!
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the distortion of reality through light, film, and memory. the passage of time coupling and decoupling with acts of devotion. celebration as a means of destruction. meditations on plastic distortion.
this film really has it all for me
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podróż celuloidowym traktem pamięci, lampa kinetonu topi zbyt długą chwilę zamyślenia, piękna liryczna wizualność...
Special thanks to: Mary Ann Bruno (actress); Susan Mann (voice); Robert Franki (simulation of rattlesnake sound); Ken Rowe (sound production assistance); and Steve Gallagher (visual production and general assistance). In Part 1 there is an image of a moving strip of film, showing sequences of a close-up of a match being waved somewhat aggressively in front of a young woman's apprehensive face. The soundtrack: occasional match striking and rattlesnake warnings and the words, "Look, I won't talk."... The second part is the first part rephotographed .... In Part III we see the rephotographed image of Part II, which contains Part I, so it is a film…
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I was feeling the length with this one. It’s cool though. Rebirth through decay.
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would want to see it screened with frampton's nostalgia some day
