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Robert Breer (Sept Experimental Memoria, Part 2: Robert Breer (Sept. 30, 1926 – Aug. 13, 2011) Visions in Motion: A Memorial Retrospective, 1954-2003 Wednesday, April 18, 2012 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA Experimental Memoria A special series commemorating the work of three notable experimental and underground filmmakers who left this plane in 2011. Experimental (Adjective. First known use: 15th century.) 1. (Of a new invention or product.) Based on untested ideas or techniques and not yet established or finalized. 2. (Of a work of art or an artistic technique.) Involving a radically new and innovative style. Memoria (Noun. Latin: “memory”.) “The treasury of things invented.” – Rhetorica ad Herennium, 1 BCE (attributed to Cicero) One of five canons in classical rhetoric; the discipline of recalling the arguments of a discourse. While partly a means of perpetuating past knowledge, it is more than rote memorization. Rhetoricians viewed memoria as including a deep understanding and command of the material so as to permit improvisation, response to questions, and refutation of opposing arguments. As such, memoria is memory not just preserved but living, integrated, and interacting with the present. Tuesday, March 20, 2012 George Kuchar The Devil’s Cleavage (1973) Hold Me While I’m Naked (1966) Wednesday, April 18, 2012 Robert Breer Visions in Motion: A Memorial Retrospective, 1954-2000 16 short films Wednesday, May 23, 2012 Adolfas Mekas Hallelujah the Hills (1963) Information: http://SprocketSociety.org http://www.NWFilmForum.org/live/page/series/2088 Series curated by Spencer Sundell and Adam Sekuler. Rev. ed. “In all my work I tried to amaze myself with something, and the only way you can amaze yourself is to create a situation in which an accident can happen.” - Robert Breer, 1971 interview with Jonas Mekas “Hurray for a formless film, a non-literary, non-musical, picture film that doesn’t tell a story, become an abstract dance, or deliver a message. A film with no escape from the pictures. A film where words are pictures or sounds and skip around the way that thoughts do. An experience itself like eating, looking, running, like an object, a tree, building, drips, and crashes. A film that instead of making sense is sense. Because it’s a picture film it might combine reason and kite flying and torpedoes and golf. People can talk in it. It can turn on and turn blue and turn off. …A film on the level of the artist’s imagination which stays there... A film that looks like the man who made it.” - Robert Breer, Film Culture no. 27 (1962) A Statement By Robert Breer Dated April 1959 and published in Film Comment, no. 29, 1963. Single images one after another in quick succession fusing into motion…this is cinema. For the 60 years of its existence it has been used mainly as a recording instrument, and as an abstract painter I first came to cinema looking for a way to record the myriad form-color relationships I had encountered in painting. Hoping somehow to preserve the formal purity of the fixed image in this dynamic new medium, I made several attempts to do so by simply imposing movement 0n the space relationships and the intrusion of anecdote in these early films forced me to explore deeper into the cinematographic medium itself. In1954 I made the following experiment: I exposed six feet of film one frame at a time, as usual in animation, but with this important difference – each image was as unlike the preceding one as possible. The result was 240 distinctly different optical sensations packed into 10 seconds of vision. By cementing together both ends of this film strip to form a loop, I was able to project it over and over for long periods. I was surprised to discover this repetition did not become monotonous because the eye constantly discovered new images. I am only now beginning to fully appreciate the importance of this experiment which has shown me a way finally to preserve the integrity of compositions in space while modifying them in time. By simply limiting the viewer of a painting to 1/24th of a second I produce one unit of cinema and by adding several of these units together I produce a motion picture. Whereas the usual intention in animation has been to represent natural movement and to do this by gradual modification of forms permitting the eye to blend them into fluid motion. I began treating the single images as individual sensations to be experienced separately, more in counterpoint than in harmony. I find myself combining freely very disparate images and finally using continuous motion simply as a means to connect up the various fixed images. This technique tends to destroy dramatic development in the usual sense and a new continuity emerges in the form of a very dense and compact texture. When pushed to extremes the resulting vibration brings about an almost static image on the screen. This Evening’s Program All films shown in their original 16mm format. Prints courtesy of The Film-makers’ Cooperative (NY). There will be a brief intermission. Viewer Advisory: Many films in this program include or consist of very rapidly changing and stroboscopic imagery. This may adversely affect those with photo-sensitivity. Part 1: One Man Show (1966) Color & B/W, 50 min. An anthology apparently prepared by the Film-makers’ Cooperative, though it is unclear to what extent the director may have played a role in the selection. It contains the following seven films: Jamestown Baloos (1957) color & b/w, sound, 6 min. Award: Bergamo International Film Festival “Breer’s early masterpiece is a three-part film that combines animation and live-action, collage and photography, silence and sound.” – Harvard Film Archive “Jamestown Baloos is a frenetic, three-part stop-motion animation that features an army of everyday forms and figures — geometric shapes, a piece of string, newspaper clips, a pin-up girl, even Napoleon Bonaparte — flashing across the screen. Placed in increasingly compromised situations and choreographed to a jingoistic tune, the figures essentially become puppets of their former selves. Such unrelenting visuals recall not only Fernand Léger’s early experimental film, Ballet Mécanique (1924), as Breer himself has mentioned, but also early twentieth-century Dadaist collage. Dada artists like Kurt Schwitters and Hannah Höch created witty, unapologetic works that reflected the chaos and violence of modern existence. Jamestown Baloos serves, as their works did, as a pointed indictment on the absurdity of war.” – Kelly Shindler, Assistant Curator, Contemporary Art Museum St. Louis. “Jamestown Baloos, I felt, was a turning point. It was a breakthrough for me. …I think Jamestown Baloos was a film where I felt I was riding kind of high on that film and mixed in everything, every discipline I could think of, very conspicuously, and would carry it off just on the level of drive and euphoria, and it would work because I’d will it to work, that’s all. “It was a triptych. And I was actually thinking in terms of the triptychs that I had seen, I guess, in Germany. You know, they fold, they close, and I think there is one in a Northern German town (Lubeck), in a big church there...I don’t know whose it is, maybe a medieval German artist – it’s black and white on either side and color in the middle, and this was, I think, the basis for making Jamestown Baloos that way. Three parts. The color is silent, and the other two parts have sound on them. The idea was that it’s a completely symmetrical piece of film, it has no real beginning or end, you could close the black and white things in...I think of the films as objects sort of, rather than continuities. You should be able to hold them upside down. But that is not true, you can’t show them backwards, it wouldn’t make any sense...I think of them as blocks of time, in which no time takes place.” – R.B. interviewed in Film Culture no. 56-57 (1973) Horse Over Tea Kettle (1962) color, sound, 8 min. “Challenge, proudly flung against the bomb.” – Cinema 16 program notes, 1962 “[A]n atom bomb movie, one of his small wonders. The simplicity of his means, the effectiveness of his imagery, his humor (Breer is the James Thurber of the screen) is that of a great artist.” – Jonas Mekas, Village Voice “In this witty animation of brightly colored doodles, things are not quite what they appear to be. Disparate elements are juxtaposed and objects transform themselves only to reappear in new disguises…all done to a Keystone Cops timing. The filmmaker writes that ‘the pretext’ for all these metamorphoses ‘is nuclear mayhem.’” – MOMA Circulating Film Library Catalog “In Horse Over Tea Kettle, he directly attacked the conventions of the cartoon while working within it. There he stuck to colored crayon drawings of a woman with an umbrella, a frog, and other easily identifiable creatures and objects. However, he transforms and moves these conventional figures within an intricate orchestration of expectations and surprises involving changes of scale, direction, virtual depth, and above all movement off the screen at all four edges.” – P. Adams Sitney, Visionary Film Blazes (1961) color, sound, 3 min. “100 basic images switching positions for 4 thousand frames. A continuous explosion.” – R.B. Breer has said that in making this film he imitated the chance collage operations of Dada artists Hans Arp, whom he befriended while living in Paris. The images were painted in gouache on individual 6”x4” cards, and then scattered randomly on the floor.
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