Mouthpiece
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Mouthpiece, 1978 - Featurette
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The world's premiere voice actor and animator, known as "The Man with 99 Voices" has gone silent. In an attempt to break into the business, aspiring voice actor Claire Flores must coax the reclusive Harry Hoffman out of retirement. She quickly learns of his sinister secret, a horrifying hundredth voice dead set on getting Harry back into the limelight.
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Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
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Phantasia(xx)
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Hackney Marshes – November 4th 1977(en)
An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.
The Human Centipede 2 (Full Sequence)(en)
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Endless(en)
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Cloud Film(en)
cloud film meditates on the calming effects of watching clouds, while also demanding action to combat our impact on the environment. It calls attention to a loss of control as the clouds turn into a storm, reflecting the momentum of climate change. As clouds float on screen, fluctuating between different frame rates, this film calls attention to its handmade form through the use of cameraless techniques such as ray-o-gramming, optical printing and hand processing.
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Serene Velocity(en)
"Serene Velocity (1970) created a stunning percussive head-on motion by systemically shifting the focal length of a stationary zoom lens as it stared down the center of an empty institutional hallway – thus playing off the contradiction generated by the frames’ heightened flatness and the compositions’ severely overdetermined perspective. Without ever moving the camera, Gehr turned the fluorescent geometry of this literal Shock Corridor (in the then – new State University of N.Y at Binghamton) into a sort of piston-powered mandala. If Giotto had made action films it would be this." – J. Hoberman
Corner(pt)
The corner of a street is matched and mixed with the chant of a bird recorded on that same street. A symbiotic relationship is triggered: the rapid and successively repetitive montage cuts between the image of the street and the corners of the video frame itself produce new textures and shapes in our brain, whilst the sound follows the same rhythmic movements by emphasizing different “corners” (frequencies) from the bird’s singing. The energetic potency stemming from the junction of these elements creates a new image that is almost tactitle, maleable and rippling. The result is a somewhat humorous operation of the portuguese word "corner" throughout the different stages of making the piece, finally unveiling a piercing physical and kinetic experience for all the corners of our eyes and ears.
Tiger Balm(en)
"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters." - HF
Grid(pt)
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
