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2013 Shooting Wall
Film Festival
Our idea of starting a film festival goes back to the very beginning
of Shooting Wall. All of us were and continue to be frustrated
with the state of the American (and even international) film festi-
val; they are either too big and inaccessible for the no-budget
filmmaker or too wrapped up in civic and indie spirit to offer
any kind of new and innovative programming. Aside from the
programming problems nearly every festival suffers from, they can
also be a fortune to submit to and, even if on the off chance your
film gets selected, it is hardly worth the trouble anyway. Shooting
Wall has always seen ourselves in opposition to these practices. In
our writings and ideas, we have always presented ourselves as an
alternative to all things Hollywood, Indiewood, and any other
centralized form of cinema; we think of our film festival in the
same way. We are not interested in putting Philadelphia on the
map or in becoming a non-profit or in capitalizing on the indie
film scene; instead, our festival is first and foremost about cinema.
We have attempted to create a film and filmmaker centric film fes-
tival. We are not trying to make money or a career out of a film
festival; we simply want to highlight some new and interesting
films made by filmmakers who are working far, far away from the
system. Our festival is for the filmmaker and for the cinephile. We
attempt to offer a program for those who want to think about and
critically engage with cinema. If the films screened here today canget people talking, arguing, or generally consciously engaging
with cinema, then we think the festival has been a success. This
film festival is for those who love cinema and hate what it has be-
come. This film festival is a step toward creating a true alternative
to a system that no longer has a place for radicals and innovators.
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Not Far From HereNot Far From HereNot Far From HereNot Far From Hereby Tessa Garland5m, U.K., [email protected]
Not Far From Here combines live ac-
tion and animation. The work is staged
around a suburban house and a domes-
tic shed set within a wooded area. The
video is a nonlinear work that evades
narrative and works more as a montage
with the central character appearing and
disappearing through its various locations. During the sequence, the banality of the sub-
urban setting is interrupted by a parallel world suggesting an alternative reality and one
which is charged with psychic activity.
Not Far From Here is an atmospheric piece that embraces techniques found in both
filmmaking and theatre. The layered passage of imagery uses strong lighting, constructed
sets, special effects and sound to build a dreamlike world that blurs the boundaries of
fiction and reality. www.tessagarland.com
(excerpt) Society of the Spectacleby Heath Schultz 14m, [email protected]
The Society of the Spectacle (2013) takes Debords film of the same
name as a starting point and skeleton for a new video project,
which might be called a dtournement of the original. Dtourne-
ment, for Debord, was communication which includes a critique
of itself, and the flexible language of anti-ideology. Thus, it is
the only way in which one can resist falling into the trenches of
dogmatism. In re-stating SoS in 2013, it must be revised and simul-taneously plagiarized, and it is in this vein in which I re-introduce
this project. Ideas improve. The meaning of words plays a role inthat improvement. Plagiarism is necessary. Progress depends on it.
It sticks close to an authors phrasing, exploits his expressions, de-
letes a false idea, replaces it with the right one.
I offer the film with the modest hope that it might contribute to a
deepening of a theoretical analysis and contribute to a culture ofanti-capitalist cultural production. The entire film can be viewed
at heathschultz.com.
The Edge of the World byJillHackney10m,[email protected]
ShotentirelyinSaudiArabiainOctoberof2012,EdgeoftheWorldis
anattempttodecoctemotionsandexperiencesviacinematiclum-
mery.
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e Ace of Spades by Sophie Asia11m, UK, [email protected]
A short film about a boy who struggles to be happy. Tadek Chmiel
as Finn / Grace Gallagher as the Girl / Music by Julie Elven -"Arrivav" / Directed, Edited & Written by Sophie Asia / Produced
with love by a cast and crew of 3 on a next-to-nothing budget and a
broken tripod.
UnavoidableUnavoidableUnavoidableUnavoidable
Spectacles orSpectacles orSpectacles orSpectacles or
The End ofThe End ofThe End ofThe End of
TimeTimeTimeTime
by Joshua Martin 27m,[email protected] women contemplatethe end of time.Starring Liz Taddei, Angela Riccetti / And Josh Christensen, MichaelBee/Voice Jill Hackney/Music Paul Akerman, marcD, John Nectar /Additional Music Josh Christensen/Crew Marc Dickerson, Dan Dicker-son, Mike Gallagher, Karl Starkweather/Photographed by Jill Hackney
by Kelly Gallagher I Am the Mace4m, [email protected]
Kelly explores the more tangible and palpable aspects of filmmaking. She's
interested in utilizing processes of animation including cut-out/collage,
hand-painted and scratched celluloid, hand-painted rotoscoping, stop-
motion, etc, to make handcrafted films about the politically radical top-
ics she's interested in: overlooked histories and herstories of revolution,
resistance, and struggles against exploitation, racism, patriarchy, capital-
ism, and colonialism. www.purpleriot.com. Cast: Kelly Gallagher, as her-self / Crew: DP - Joshua Yates & Sound - Kristen Degree,/ Director, Editor,
Animator: Kelly Gallagher
A Snail in a Woman's Skin by Rob Playfair16m, UK, [email protected]
A nervous scientist starts to notice a change from within;
will she embrace this new self which repels everyone else? A
horror-metamorphosis short which blends Tsai Ming Liang
with Shinya Tsukamoto. www.vimeo.com/milkandhoney
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The Numbers Fahrenheitby Derick Crucius 4m, [email protected]
The Numbers Fahrenheit is an experiment with sound and
color. Throughout the film, both the visuals and the soundbecomes more intense, throwing the viewer into a form of
mediation. My goal was to create something similar to the
likes of Stan Brakhage & Len Lye, but with a soundtrack
that provokes an intense emotional response. Ink & Dye on
Bleached 16mm film. Film & Sound by Derick Crucius
by Rob Marvin Merry Christmas, BabyMerry Christmas, BabyMerry Christmas, BabyMerry Christmas, Baby13m, [email protected], hot, big city, TV thera-pist, DR. JILL THERAPIST re-
ceives a letter from an interest-ing young lad. She decides tovisit him over the holidays.Then whatever else happensafter the opening credits.CAST/CREW: just Rob Marvin/Jill Hackney/Jon Seidman/John Kingston all across the board.
? ? ? ? HowHowHowHow IsIsIsIs OneOneOneOne ToToToTo LiveLiveLiveLive by Robert Curry 20m, [email protected] Is One To Live? is a film about a woman named Veronica (Susanne
Collins) who very earnestly attempts to re-establish a relationship with her
former lover, and her sister Abigail (Anat Eshel) who has taken him from
her. The film opens with Veronica at graduate school with her friends
(Charlette Hove and Rachel Linson) as they make plans for their weekends.
Veronica does exactly what she sets out to do, work on her thesis and eatIndian food. However, come Saturday morning, Veronica s sick to her
stomach and is confronted by her sister Abigail. This encounter will shape
the remaining narrative, which I do not intend to spoil.
As a film, How Is One To Live? is a comedy about estranged relationships,
but it is also a reflexive satire. Being film snobs, the characters that inhabit
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the films narrative often cite and reference various films, but these films
and filmmakers who are referenced have provided the very mechanisms
through which the film s narrative is working. For instance, the quick ex-
change of intellectual arguments and the static shots recall the films of
Whit Stillman, which are referenced in Veronica s dialogue. Veronica
writing her thesis on Fassbinder provides the most significant of these
parallels. The nature ofHow Is One To Live?as a chamber drama is de-
rivative of Fassbinder s film The Bitter Tears Of Petra Von Kant. Veroni-
ca even goes so far as to identify herself as both Franz Biberkopf and his
lover Mieze at moments in her own narrative arch which reflect the arch
of Doblin s characters in Fassbinder s adaptation of BerlinAlex-
anderplatz. The primary cast and crew are as follows Robert Curry -
writer/director / Caroline Boyd Producer / Anat Eshel-Executive Produc-
er / Mike Englisis-Director of Photography / Mac Kennedy & Tabitha Al-
len-Music / cast: Susanne Collins/Anat Eshel/Hank Curry/Charlette Hove/
Rachel Linson
Fugaziby Patrick Baird
11m, [email protected] sexually frustrated gore fetishist explores her boundaries. Shot onPXL2000. Director, Camera Operator, Editor: Patrick Baird / Writer:La Bte / Starring: Christina Alberico & Bill Amadio
Agony
by Marc Dickerson
20m, [email protected]
Agony is a poet with a passionate and tortured soul. Delve into the
mind of a true up and coming artist, unafraid to say whatever pops
into his head. Even if it makes no sense. Meet AGONY. Written and
Directed by Marc Dickerson / Shot by Dan Dickerson
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Shooting Wall
2013