An old 35mm film projector was entirely disassembled, a mould was made of every part, a bronze copy was then created and the bronze parts were subsequently assembled. The whole process was filmed, to then be projected by the new, bronze projector. The observation that a projector projects the process of its own creation goes beyond a purely conceptual statement. This project is simultaneously an ode to craftsmanship and to how that changed radically over the course of the 20th century. The precise type of projector, the Iskra NP-21, also calls a complete history to mind, as Iskra was as omnipresent in Tito’s post-war Yugoslavia as Bosch and Miele in the West. In this manner, what is perhaps the very last, ultimate 35mm projector simultaneously becomes the first fully-fledged monument to a culturally supremely important device.
An old 35mm film projector was entirely disassembled, a mould was made of every part, a bronze copy was then created and the bronze parts were subsequently assembled. The whole process was filmed, to then be projected by the new, bronze projector. The observation that a projector projects the process of its own creation goes beyond a purely conceptual statement. This project is simultaneously an ode to craftsmanship and to how that changed radically over the course of the 20th century. The precise type of projector, the Iskra NP-21, also calls a complete history to mind, as Iskra was as omnipresent in Tito’s post-war Yugoslavia as Bosch and Miele in the West. In this manner, what is perhaps the very last, ultimate 35mm projector simultaneously becomes the first fully-fledged monument to a culturally supremely important device.
2017-01-01
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Oscar, a digital hipster, dives into the fantastic world of analogue loving projectionists. It’s not as easy as it might seems, one may even get hurt! The documentary is about the dying culture of 70mm material and the last mohykans, who aren’t afraid of fighting for their beloved film copies and feed the hungry old projectors with them.
7.4Loner Mark Lewis works at a film studio during the day and, at night, takes racy photographs of women. Also he's making a documentary on fear, which involves recording the reactions of victims as he murders them. He befriends Helen, the daughter of the family living in the apartment below his, and he tells her vaguely about the movie he is making.
7.5A second-class horror movie has to be shown at Cannes Film Festival, but, before each screening, the projectionist is killed by a mysterious fellow, with hammer and sickle, just as it happens in the film to be shown.
0.0The film appears like a ritual with splendids and crypteds psalms. The Great Master of Order (Marcel Mazé, new fetish actor after Aloual) seduces the young male prey with a running cinema projector which carves Murnau's Nosferatu extracts on their bodies. Metamorphosis, rituals passages, Eros and Thanotos, illusion and reality, film into the film are the themes and images in perpetual osmosis in this Stéphane Marti's opus.
5.5An evening at the local movie theater, including a sing-along led by Maestro Stickoutski at the Mighty Fertilizer organ, a Goofy-Tone newsreel, and the feature, Petrified Florist, featuring caricatures of Bette Davis and Leslie Howard.
0.0Velvet Underground's first public appearance.
5.8Footage from 1964-1968 that did not find its way into the Walden reels is joined in this classic period piece. Mostly centered in New York, it also includes travel footage and appearances by David Wise, Salvador Dali, Allen Ginsberg, Jack Smith, Shirley Clarke, Jane Holzer and more. Mel Lyman plays his banjo on the roof.
0.0During the summer of 1966 Jonas Mekas spent two months in Cassis, as a guest of Jerome Hill. Mekas visited him briefly again in 1967, with P. Adams Sitney. The footage of this film comes from those two visits. Later, after Jerome died, Mekas visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. Other people appear in the film, all friends of Jerome.
The film is arranged in six chronologically-ordered parts, each filmed in a different location during Oona's third year.
5.2This is a video record of the Buddhist Wake ceremony at Allen Ginsberg's apartment. You see Allen, now asleep forever, in his bed; some of his close friends; and the wrapping up and removal of Allen's body from the apartment. You hear Jonas' description of his last conversation with Allen, three days earlier. You see the final farewell at the Buddhist temple, 118 West 22nd Street, New York City, and some of his close friends: Patti Smith, Gregory Corso, LeRoy Jones-Baraka, Hiro Yamagata, Anne Waldman, and many others.
6.3This is a mini-portrait of one of the legendary figures of the 60s who should be credited for the discovery of the Velvet Underground, for saving Bob Dylan's mind after the motorcycle crash, for her pioneering sound/image installations, for keeping the New York Sixties' art community together, for one of the key works of erotic cinema Christmas on Earth, and etc. and etc.
5.8Jonas Mekas documents Timothy Leary’s Millbrook estate in the wake of a police raid, juxtaposing serene images of the property with audio of officials justifying their actions. Blending diary footage with subversive reportage, the film exposes the gap between perception and authority, offering an oblique portrait of the counterculture and its suppression.
6.5Filmed in 1950 soon after Jonas Mekas arrived in New York, this short documents everyday life in Williamsburg, Brooklyn. It was the first film he shot with his 16 mm Bolex camera, but he did not edit and present the footage until 2003, making it both his earliest and one of his final works on film.
6.9Compiled from two decades of travels through Europe, Jonas Mekas’s Travel Songs gathers five diaristic segments filmed in Avila, Stockholm, Moscow, and Assisi. Shot with his characteristic spontaneity and playfulness, the film turns casual sightseeing into a lyrical meditation on place, memory, and movement.
Imperfect 3-Image Films | EUA, 1995, 16 mm, pb-cor, 6' ... MOCAtv Presents 'In Focus' - Jonas Mekas - The Artist's Studio by MOCA 9,101 .
7.4Jonas Mekas reflects on a 1966 trip to Avignon that offered solace during a period of personal crisis. Combining diary texts read by Angus MacLise with images of place and memory, the film becomes a lyrical meditation on pain, survival, and the restorative power of reflection.