FILMMAKER PAIGE SARLIN IN PERSON!
Magic Lantern returns for the first program of 2008 with THE PROJECTOR SHOW, a look at the love, labor, and discourse of that wonderful device that brings us moving and still images. Paige Sarlin’s The Last Slide Projector will be making its Providence premiere along with two shorts that examine their respective relationships to the technology that enables their animation. You could wait to see Sarlin’s film at the Anthology Film Archives next month, but why would you?
FEATURING: DERVISH MACHINE, Jeanne Liotta. (10min, 1992, 16mm); PATENT PENDING, Alan Berliner. (11min, 1975, 16mm); THE LAST SLIDE PROJECTOR, Paige Sarlin (59min, 2006, DVD)
DERVISH MACHINE, Jeanne Liotta. (10min, 1992, 16mm) Co-maker: Bradley Eros “M’elevasti! Lift me up!”– Ezra Pound Hand-developed meditations on being and movement, as inspired by Gysin’s Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material. The film itself becomes the site to experience impermanence, and to revel in the unfixed image. Seen and unseen meet in the place between image and emulsion.”… The taking and making of images is seen as a passionate pursuit: religious,magical,mysterious.”– Kathy Geritz, Pacific Film Archives
PATENT PENDING, Alan Berliner. (11min, 1975, 16mm) A film of a film within a film. A soundtrack of whirling mechanical gears, grinding sprocket wheels and an assortment of intermittent clatter. One reel, one take. I love the circular animation at the end. The title and the end were serendipitous.
THE LAST SLIDE PROJECTOR, Paige Sarlin (59min, 2006, DVD) The Last Slide Projector is a documentary film that tells the story of the production of the last Carousel slide projector by Eastman Kodak. The film documents the end of an era and traces the varied histories of an apparatus and a medium that have been central to family memories, to education, to art history and to the development of both cinema and corporate culture. Beginning with Kodak’s announcement of their decision to cease production and ending with a home movie-style digital video that documents the assembly of the last projector in Rochester, NY, the film chronicles the stories of people who were intimately involved with the production and use of the projector. The film also considers the Carousel projector’s role in the story of the Eastman Kodak company and how recent changes in the company reflect shifts in American manufacturing more broadly. A prime example of the transition from the analog to the digital, The Last Slide Projector is a personal meditation on the idea of technological progress and the impulse toward nostalgia that loss and endings often inspire.