“Parallax is the apparent change in position of an object resulting from the change in direction or position from which it is viewed.” Confusion, underlying meaning, and unspoken truths are often associated with the dialectic of sexual communication. Mingled with the intensity and unpredictability of a “one night stand,” they generate unique sensations – mixed emotion, risk, excitement. The film employs formal devices in a manner which is simple yet effective. Its subject matter – sexuality and communication – gains depth and poignancy through the artist’s decision to shoot the film’s three scenes for projection in a double-screen configuration, providing an elegant solution to deal with potentially sensationalist subject matter. The separation which the two screens impose on the film’s viewing evokes the aloneness which is the common experience of all human beings and the spaces we hope to bridge. Selected screenings: Toronto International Film Festival; Oberhausen Film Festival; San Francisco International Lesbian & Gay Film Festival; New York Gay & Lesbian Experimental Film Festival
Filter Films
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The film began as an experiment: to study the human form suspended in a body of water – a search for commonality. It was also an attempt to express with film the complexities within an individual, the multiple points of view of the human psyche. However, during the filming, a shift occurred in the agenda. Individual dramas unfolded as each person had to confront their ability – or inability – to relinquish control to the water. A personal narrative evolved as I intimately observed my friends and family coming to terms with this natural force. Looking repeatedly at these scenes during and since editing, I am awed by what I see – evidence of the impermanence of life, and the resilience of human nature. (PB)
Temporary Arrangement, A
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“After the success of his feature film ‘Masala,’ Srinivas Krishna returns to personal filmmaking with ‘Tell Me What You Saw’, a lush meditation on bucolic pleasures and a formally precise and emotionally engaging study of the properties of light.” – Toronto International Film Festival , 1994
Tell Me What You Saw
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“Not enough attention is paid to photogenic objects. A telephone receiver, for instance…” Louis Delluc. The inability to communicate leads to Atomic disaster. Discount to Peace Groups.
Telephone Film, The
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While primarily an entertaining tale, “Teknicly Inkorect” is also a film that explores the processes of film sound and image, spectatorship, program-ming and projection, while relating it thematically to a caveat against global over-reliance on technical expertise. It quotes from filmic forms such as documentary, experi-mental, animation and drama, and involves the layering of several levels of images and sound. “Teknicly Inkorect” uses documentary live action, cel animation, undercamera object animation layered over cel, cutout animation, computer-assisted undercamera animation, and copier animation.
TEKNICLY INKORECT
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Collaborators: Heather Cook and Steve Butson. A televisual “diary” of the time during the Persian Gulf War. Short fragments of images collected have been edited together, then spatially and rhythmically manipulated through the mosaic function on a VHS recorder. Inexorable motion as “seen” through TV, from the gulf between everyday broadcasts and everyday every day. Swelling panic.
Technilogic Ordering
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Small rips and tears progress with stunning rhythm to the ultimate split of our world. The imagery has a delicate sketchy quality that resonates against a subtle soundtrack to create an overwhelming mood between laughter and tears.
Tearing
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“Tapas”, a film about the Spanish Civil War, uses techniques of experimental cinema within a documentary format. This poetic remembrance of the War and its aftermath is told through the voices and stories of various generations of refugees gone to America.
Tapas
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Enter an imaginary gallery of male nude figures where homoeroticism in the history of Western Art is uncovered, as the patrons become part of the exhibit. The film teases and tantalizes as it explores masculinity and desire through a queer reading of the male nude traditionally censored. This experimental documentary constructs a desired desiring body using key works from a lover’s discourse, including denial, difference, fear, lust and rapture.
Tangled Garden, Act II, Scene II
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“Tangled Garden” is an experimental documentary triptych exploring representation, desire and meaning from a queer perspective – a glance, which is philosophical, political and erotic. Produced from 1992 to 1994. “Tangled Garden, Act I, Scene II” (12 min. 1993) begins the filmmaker’s journey by exploring the history of the purebred Jersey cow, and suggesting that when we look at the “other,” it is often ourselves we see reflected back. “Tangle Garden, Act II, Scene II” (13 min. 1992) examines the male nude in the history of Western Art, and offers a personal interpretation of the eroticism inherent in these images which both challenges rigid dichotomies of gay and straight, and reminds gay white men of their investment in the norms of masculinity. “Between You and Me, Tangled Garden, Act III, Scene I” (10 min. 1994) looks at the internalization of homophobia and fatalism present in mainstream representations of the AIDS pandemic, as it reflects on the conflict between grief and desire in a gay man’s psyche. The film challenges the viewer to turn their red ribbons into real action both on the streets and in bed, and to resist the industry of AIDS.
Tangled Garden
