Après les collectifs Process Reversal du Colorado et Balagan Films de Boston, l’Etna continue sa série de projections exceptionnelles de films contemporains expérimentaux en argentique avec la venue de trois cinéastes : Taylor Dunne, Eric Stewart et Marcy Saude. Ils viendront nous présenter un programme de cinq films, tous tournés en argentique et dont la moitié seront projetés en 16mm.
Films from the interior of North America
Entre documentaire et expérimental, ce programme ouvre des pistes très diverses : relations à la perte d’un proche, avec les échos entre Wake d’Eric Stewart et Corn Mother de Taylor Dunne ; le lien à la grande Histoire et notamment à l’Histoire amérindienne, avec Katah-din (Taylor Dunne) et Sangre de Cristo de Marcy Saude ; et enfin une sortie vers la science fiction avec la bobine de trois minutes de Marcy Saude, Ed in the Forest.
La séance sera suivi d’un débat avec les réalisateurs.
Les films parlants seront projetés en anglais sans sous-titres.
WAKE | Eric Stewart | 2014 | 8' | 16mm
CORN MOTHER | Taylor Dunne | 2012 | 6' | 16mm
KATAH-DIN | Taylor Dunne | 2014 | 34' | 16mm sur vidéo numérique
ED IN THE FOREST | Marcy Saude | 2014 | 3' | 16mm
SANGRE DE CRISTO | Marcy Saude | 2011 | 26' | 16mm sur vidéo numérique
Durée totale : 77' + présentation et discussion
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ABOUT THE FILMS :
Wake is a dirge in celluloid. It is a celebration of my fathers life, a meditation on his body and a visual record of mourning. When my father died, there was never a chance to see his body after life had left it. This film was made by placing his ashes directly on 35mm film in a dark room and moving the film a frame at a time. What we see in this process of photograming is not the object in the photographic sense, but instead a representation of the space surrounding the object. The photogram is a shadow charting the distance between things.
A single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman, The Corn and Tobacco Mother.
The people who for centuries lived in what is now called Maine were the Wabanaki, an Eastern Algonquin word meaning people of the dawn. Called this because they lived where the sun first strikes the continent at the peak of Katahdin. This place was home to a Wabanaki woman born into the Penobscot tribe named Molly Spotted Elk. Molly was a doorway between worlds; she was the first Wabanaki person to formally record the creation history of her people in her book, Katah-din: Wigwam Tales of the Abanaki Tribe while simultaneously performing the Native American stereotype at nightclubs in New York, Paris, and most notably as Neewa in H.P. Carver’s 1930 film The Silent Enemy.
The history and memory retained in the Katahdin landscape is revealed through Molly’s archive, amateur film, found sound and contemporary observation. The figure of Molly is used as a lens to examine the process of erasure, restoring to American history something that has been lost but hidden in plain sight.
ED IN THE FOREST
Cicely, Alaska as a working through of utopian tendencies; fragments of feminist sci-fi text; a brief pop culture daydream of future or parallel worlds without wages; a Bolex and a winning smile.
SANGRE DE CRISTO
In Sangre de Cristo, the mountains of Southern Colorado and Northern New Mexico are examined as a site where embedded layers of oppositional history converge and are revealed through traces of the past in the present landscape. These include the 18th century conflict between the Comanche chief Cuerno Verde and Spanish colonialists, seen through interpretive markers and place names as well as a play on horseback; the Espinosa brothers, who claimed that the Virgin Mary inspired them to murder Anglo settlers in the wake of the Mexican-American war; an interview with an anarchist activist who moved with his wife to the Sangre de Cristo Mountains to live a nomadic hunter-gatherer lifestyle on horseback in the 1970s; and documentation of counterculture architecture in the contemporary landscape that serves as material evidence of the new ways of life envisioned by people drawn to the region. Throughout, words drawn from Rudolph Wurlitzer’s novel, The Drop Edge of Yonder, form a parallel narrative of life in the Sangres.