Date: Thursday, September 15th, 2016 at 8:00pm
Venue: Oddball Films, 275 Capp Street San Francisco
Admission: $10.00 Limited Seating RSVP to RSVP@oddballfilms.com or (415) 558-8117
Web: http://oddballfilms.blogspot.com
Featuring:BUCKY (1996-1998) Episodes 1-6, Super 8mm w/ sound, Paul Clipson and Adam Heavenrich, 12 minutes total
A curious figure navigates the world in an attempt to understand. Based on a series of conversations between Clipson and Heavenrich on subjects such as whether it's really possible to mail a letter, board a train, or cross a street.
BIG BLACK SQUARE (2004) Super 8mm film, color, 6 minutes, music by Tarentel
An expressionistic view of fear within the spinning zoetrope of an industrial labyrinth. Filmed in the industrial landscapes of San Francisco.
OVER WATER (2005-2006) Super 8mm, color, 6 minutes, music by Tarentel
The light and water of winter-time, viewed at 35,000 feet, over the U.S., somewhere between the East and West coasts. Filmed during two separate trips from San Francisco to New York.
SUN PLACE (2007) Super 8mm, color, 7 minutes, music by Tarentel
A study of relationships between graphic visual forms of nature and the propulsive rhythms of music-making.
ECHO PARK (2007) Super 8mm, 9 minutes, music by Tarentel
An abstract sci-fi dream of vegetation, narratives and wordless experiences- sidewalks seen through puddles, cities floating above bar counters and spiders communicating with stars. Filmed in Los Angeles.
WATERCOLOR NIGHT MONTAGE NO.7 (2007) 9 minutes, color, music by TarentelShot while on tour with Tarentel in Italy, this predominantly night-light filled study of movement and rhythm in neon, concludes at dawn entering the awakening industrial rail yards of Venice.
About Paul Clipson
San Francisco-based filmmaker Paul Clipson makes Super 8mm and 16mm films often in collaboration with sound artists and musicians that attempt to suggest the excitement of experience, of taking a walk, going on a trip, freaking out, getting lost or being under the influence of things natural or unnatural, like cities, streams, dreams, neon signs, puddles and spiders, a world theatricalized by our attraction and dread of all things. He wants to make films that astonish, in the Silver Age Jack Kirby sense, as well as in the Cocteau-Orpheus sense of the term. To make films of the poetics of space, the expressionism of a Cabinet of Dr. Caligari, the camerawork of Orson Welles, or the dance of Maya Deren, Films that exist somewhere between a screen of layered lights, colors, shadows and the imagination. His work has screened around the world in festivals and at sound and film events such as the International Film Festival Rotterdam, The New York Film Festival, and the Cinémathèque Française. http://www.withinmirrors.org/
16mm Selections from the Archive:
A compilation of short silent films by French cinema pioneers the Lumière brothers shot in the early days of cinema. The shorts are accompanied by informative text that gives background information on each film, as well as historical context with regards to filmmaking and the Lumière company. Shorts include the famous "L'arrivée d'un train à La Ciotat" (1896) ("The Arrival of a Train at La Ciotat"), "La sortie des usines Lumière" (1895) ("Employees Leaving the Lumière Factory"), and a vintage look at the Lumières' patented cinematograph, a combination camera, projector, and film printer.
Meshes of the Afternoon (B +W, 1943)
One of the most influential works in American experimental cinema. Maya Deren's non-narrative work been identified as a key example of the "trance film," in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open-ended and interrupted. Deren explained that she wanted "to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately." (MoMA)
About Oddball Films
Oddball Films is a stock footage company providing offbeat and unusual film footage for feature films like The Nice Guys and Milk, documentaries like The Black Panthers: Vanguard of the Revolution, Silicon Valley, Kurt Cobain: The Montage of Heck, television programs like Transparent and Mythbusters, clips for Boing Boing and web projects around the world.
Our screenings are almost exclusively drawn from our collection of over 50,000 16mm prints of animation, commercials, educational films, feature films, movie trailers, medical, industrial military, news out-takes and every genre in between. We’re actively working to present rarely screened genres of cinema as well as avant-garde and ethno-cultural documentaries, which expand the boundaries of cinema. Oddball Films is the largest film archive in Northern California and one of the most unusual private collections in the US. We invite you to join us in our weekly offerings of offbeat cinema.
Our screenings are almost exclusively drawn from our collection of over 50,000 16mm prints of animation, commercials, educational films, feature films, movie trailers, medical, industrial military, news out-takes and every genre in between. We’re actively working to present rarely screened genres of cinema as well as avant-garde and ethno-cultural documentaries, which expand the boundaries of cinema. Oddball Films is the largest film archive in Northern California and one of the most unusual private collections in the US. We invite you to join us in our weekly offerings of offbeat cinema.