The Hollywood Show

“The Hollywood Show"

“The Hollywood Show”


Glamour! Scandal! Spectacle! As 2006 winds to a close, join the stars of Magic Lantern as we deliver the glitter and sparkle of Hollywood as you’ve never seen it before. Known worldwide for its Formulaic Star Vehicles, Special Effects Blockbusters, and Happy Meal McDonalds Tie-ins, Hollywood is normally cast as the Iceberg to the Avant-Garde’s Titanic. All of that changes tonight as Experimental Cinema and Mainstream Narrative join each other onstage in their sparkliest strapless dresses to bring you Eight Motion Picture Events that level a mixture of Love, Ambivalence, and Critique at what Kenneth Anger called the Wonder-World-of-Make-Believe-and-the-Home-of- Heavenly-Bodies. ‘Tis the season for Oscar-hopefuls, so cast your vote for Magic Lantern and walk the Cable Car’s Red Carpet for a one-time celebration and condemnation of the Stars and Spectacle of Tinseltown. Oh, Hollywood!

FEATURING: Collages d’Hollywood by Richard Kerr (8:30, 35mm, 2003), Outer Space by Peter Tscherkassky (10:00, 35mm CinemaScope, 1999), Untitled Hollywood Film by Shanay Jhaveri (7:00, video, 2006), Turbulent Blue by Luther Price (10:00, 16mm, 2006), Alone. Life Wastes Andy Hardy by Martin Arnold (15:00, 1998, 16mm), 4 Vertigo by Les LeVeque (9:00, video, 2000), Home Stories by Matthias Müller (6:00, 16mm, 1991), Mayhem by Abigail Child (20:00, 16mm, 1987)

TRT 84:50


Collages d’Hollywood by Richard Kerr (8:30, 35mm, 2003) “Assembled from a shoebox of movie trailers found at a dilapidated Saskatchewan drive-in…‘Collage d’Hollywood’ unravels and reorganizes the tight grammar of Hollywood cinema into a multi-formed pastiche that fuses film and visual art sensibilities.” – Brett Kashmere

Outer Space by Peter Tscherkassky (10:00, 35mm CinemaScope, 1999) The third part of Tscherkassky’s CinemaScope trilogy, Outer Space is comprised of footage drawn from the 1981 horror The Entity, starring Barbara Hershey. The original film sees its protagonist tormented by an invisible demon; here, Tscherkassky’s extensive use of contact printing inflicts this terror on the filmstrip itself.

Untitled Hollywood Film by Shanay Jhaveri (7:00, video, 2006) “This piece attempts to envision the way ‘the object’ is considered and represented within the specific system that is Hollywood. The notion of the spectacular (both natural and constructed) is integral to the piece’s approach. While Ms. Bardot’s dainty whisperings from Godard’s Le Mepris dominate the soundtrack, visually a large white bow, sun burnt old and prepubescent bodies, and a mute sitar performance find themselves rather unusually culled together.” -Shanay Jhaveri

Turbulent Blue by Luther Price (10:00, 16mm, 2006) “Turbulent Blue, found footage salvage 35mm split to 16mm scrap. The gauge is off, running through a 16mm projector causing a mis-registration. As well, the image itself falls on what would be the optical track so that the image reads as sound. Part of a series of what I call URF 16 films… the footage was extracted from a Charles Bronson film… but I cut him out all together… although, I had to keep one quick shot… Category: Action Adventure…” – Luther Price

Alone. Life Wastes Andy Hardy by Martin Arnold (15:00, 16mm, 1988) Mickey Rooney and Judy Garland appear in this re-working of MGM’s Babes in Arms and Andy Hardy Meets Debutante. Optical printing allows the compulsive repetition of chosen moments, which combines with backwards motion combine to create rhythms radically different from the original. The discontinuous glitches reveal the audience’s investment in the smooth, forward motion of film and, more specifically, in the glittering spectacle of the female star.

4 Vertigo by Les LeVeque (9:00, video, 2000) Vertigo, a story of loss and mirroring, is here subject to exactly these processes: LeVeque condenses the film to a rate of one frame every two seconds and then duplicates each frame four times, moving between horizontal and vertical orientations. The resulting kaleidoscopic effect reveals the film’s eerie symmetries while also pointing to the consequences of the consumption of films on fast-forwarded DVDs.

Home Stories by Matthias Müller (6:00, 16mm, 1991) “She screams. She falls silent. The expectation of terror makes her terror. But what she faces is nothing but the observer’s view. She is the observed. Clichés of melodrama unite into a drama of stereotypes. The brilliant montage of cases in point reveals the mechanism of voyeurism in Home Stories by Matthias Müller.” – German Association of Film Critics

Mayhem by Abigail Child (20:00, 16mm, 1987) Film noir, polka dots, Japanese lesbian porn, and sound by Christian Marclay combine in this investigation into the look and the gesture. Child transports a catalogue of Hollywood codes to the Lower East Side in the late 1980s to comment on desire, gender, sexuality, and performance.