Discovered: Trajectories of Self-Determination: Experimental Cinema’s Embrace of Jazz

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October 16 only

Mirror Animations [Film #11] Dir. Harry Smith

Presented by Canyon Cinemaas part of its Canyon Cinema Discovered curatorial fellowship program.

EXPERIMENTAL CINEMA’S EMBRACE OF JAZZ

Curated by Juan Carlos Kase

Experimental cinema has long embraced American vernacular music as a generative model, whether it supplied a formal template, an affective inspiration, or a point of cultural reference. From the collective polyphony of Charles Mingus’ kinetic ensembles to the gale and squall of Joe McPhee’s storming cornet, the improvisational energies of jazz – as well as blues and other popular-modernist musics – have continued to inspire American avant-garde filmmakers. Collectively, the films in this program explore the myriad ways in which experimental cinema has drawn from African-American improvised music and embraced its spontaneous, collaborative, polyrhythmic, and lyrical energies.

 

Screening Line-Up

Dufus (aka Art)

Mike Henderson, 1970/73, 8 minutes, b&w, sound, 16mm

Up and Atom

Doug Wendt, 1970, 3 minutes, color, sound, 16mm 

Not a Music Video 

Toney W. Merritt, 1987, 7 minutes, b&w, sound, 16mm

Pilgrim

Cauleen Smith, 2017, 8 minutes, color, sound, digital video 

Duet for Trumpet and Camera

Robert Fenz, 1992, 10 minutes, b&w, sound, 16mm

Mirror Animations [Film #11]

Harry Smith, 1957, 4 mins, color, sound, 16mm 

28.IV.81 (Bedouin Spark)

Christopher Harris, 2009, 3 mins, color, silent, 16mm 

The Clown

Donna Cameron, 1998, 13 mins, color, sound, 16mm 

Many Thousands Gone
Ephraim Asili, 2014, 8 mins, color, sound, digital video 

Four Women

Julie Dash, 1975, 8 mins, color, sound, 16mm transferred to digital video 

All My Life

Bruce Baillie, 1966, 3 mins, color, sound, 16mm 

 

Approximate running time: 75 minutes


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