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SHOCK CORRIDOR CINEMA PRESENTS: The Short Films of David Lynch. Tuesday Sept. 2nd , 9:00PM @the fifty fifty arts collective.
| Message Board > Up n' Coming! (aka Shameless Promotion) > SHOCK CORRIDOR CINEMA PRESENTS: The Short Films of David Lynch. Tuesday Sept. 2nd , 9:00PM @the fifty fifty arts collective. |
| film programer User Info... | Shock Corridor Cinema Presents: the return of . . . The Short films of DAVID LYNCH @the fifty fifty arts collective 416 Craigflower Rd. Tuesday, Sept. 2nd . 9:00 pm by donation; proceeds to benefit the upcoming stan brakhage memorial screening _________________ Absurdist, surreal, very American filmmaker, David Lynch has produced some of the most provoking films to come out of the U.S. over the past 25 years. His one of a kind vision seems tormented by persistent nightmares, insatiable desires and, oddly, a taste for the traditional: his films appear comfortable using traditional narrative and genre conventions, albeit tweaked to expose the inner-workings of the human condition among a polluted sea of social decay. While Lynch's feature's embody an independent cinema, the following shorts sit even farther from the margins of the Hollywood landscape. They provide insights into his creative process, and prompts viewers to chew on the fodder that would later develop into his feature length films. A program not to be missed! Program (running time: aprox. 90 min.) Six Men Getting Sick (1967) David Lynch's inaugural film apparently came about as a result of Lynch's desire "to see his paintings move and have sound added to them." In 1967 Lynch studied at the Pennsylvania Academy of Fine Arts in Philadelphia. Each year the Academy held an experimental painting contest. Six Men Getting Sick won the contest. The film is projected on a sculptured screen, comprised of a one minute loop (we will show it for two minutes) that features animated figures behind a non-piercing sound of a siren . It cost $200 to make. The Alphabet (1968) The idea of The Alphabet came from David Lynch's wife Peggy's niece, who had a nightmare and woke up reciting the alphabet. Peggy told David about this and he decided to make a film in relation to it. A wealthy man named H. Barton Wasserman (who had given David Lynch $1000 to produce some artifact for him) produced the project. It's an effective little film and not surprising that it's based on a nightmare. The Grandmother (1970) Funded by a $5,000 grant from the American Film Institute, The Grandmother is an important early Lynch work. The film begins with a man and woman 'born' from the ground, followed by their son. The opening recalls a scene from Bunel's Un Chien Andalou. There is no spoken dialogue from the characters, only wails and grunts. An engaging aspect of this film is the sound - an hypnotic drone compliments the dark pockets of odd human behavior throughout. The sound is reminiscent of Eraserhead, produced by Alan Splet (sound editior and mixer for Lynch's infamous first feature). The Amputee (1973) The Amputee was made during a lull in the making of Eraserhead. Catherine Coulson (the log Lady in Twin Peaks) plays a woman who narrates the words of a letter she is writing while a doctor (David Lynch) tends to her amputated legs. The woman seems unconcerned about this, even when blood absurdly and amusingly begins to gush out of the stumps. The Cowboy and the Frenchman (1989) This comedy is set in the (mythological) American far west, in which a deaf rancher Slim (Harry Dean Stanton) journeys with his cowboy and Indian friends (among whom is Michael Horse, deputy 'Hawk' of 'Twin Peaks") to capture an odd creature wearing a beret and speaking a bizarre language. Like a salesman, this individual is carrying objects as odd as a ripe, odorous Camembert cheese (which Slim finds offensive), a loaf of French bread and some miniature Eiffel Towers. These tourist cliches about France are thus rehearsed and ridiculed, and the encounter between France and America ends with musical fellowship around a campfire, mixing French cancan and women singing country and western tunes, and giving rise to some noisy, dreamlike images. A quirky exploration of America's long term ambivelence/ingnorance of French culture. The Cowboy and the Frenchman is one episode produced for Les Fran�ais Vu Par, a television program for the 10th anniversary of Le Figaro Magazine. The other episodes were directed by Werner Herzog, Andrzej Wajda, Luigi Comencini and Jean-Luc Godard. Lynch was the only American to participate. Lumi�re (1995) Lumi�re is Lynch's contribution to a project offered to 39 filmmakers in an effort to mark the 100th anniversary of the Lumi�re camera (said to be the the first camera used to record moving pictures). All the filmmkaers were granted complete artistic freedom, except they were challenged by a few restorations: their work could not extend beyond one minute; edits were forbidden; and they were asked to employ the original film stock that would have been used at the time this camera was in commission. The title of Lynch's work is "Premonitions Following An Evil Deed," a curious blend of cinematic homage and surreal takes on American genre and its conventions. When viewed against the other submissions, Lynch's one minute film shines. preceded by: Lynch's commentary about the Lumi�re project. - Fri, 29 Aug 2003 12:44pm | ||
| film programer User Info... | for those heading to Modest Mouse, the program should end by 10:30pm; more than enough time to get to the show. - Mon, 1 Sep 2003 4:44am | ||
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