L'Abbatiale de la
Liturgie Apocryphe

Montréal, p.Q.

‘And this is life eternal, that they might know thee the only true God, and Jesus Christ, whom thou hast sent.’ – John 17:3

 

 

The Burning Hell
Ron Ormond, USA, 1974, 58 min

 

 

Estus Washington Pirkle (March 12, 1930 – March 3, 2005)- was a Baptist minister from New Albany, Mississippi. In addition to his preaching, Pirkle was known for creating and starring in his own Christian films as well as writing numerous books. His films were directed by Ron Ormond and produced by the Ormond Organization of Nashville, Tennessee.

 

The Burning Hell is a 1974 film created by Pirkle as his interpretation of what the Bible has to say about hell. It is available in Spanish, Portuguese, Malayalam, Tamiland English. The screenplay is by Ron Ormond. The companion movie The Believer’s Heaven gives Pirkle’s interpretation of what the Bible has to say about heaven.

 

The Burning Hell (1974) by RON ORMOND

 

Godin, le film
Simon Beaulieu, Québec, 2011, 75 min

 

 

L’œuvre et la vie de Gérald Godin (1938-1994) auront été marquées par son engagement viscéral envers le Québec. Oubliée ou méconnue, la contribution de son héritage politique et littéraire au patrimoine culturel est inestimable. Figure marquante de la poésie québécoise toute sa vie durant, il aura aussi été un acteur de premier plan dans les grands bouleversements socio-politiques des cinquante dernières années. De Trois-Rivières à Montréal, des années 60 au Référendum de 1995, en passant par les prisons d’Octobre et les chansons de sa compagne Pauline Julien, le film GODIN allie archives et entrevues pour retracer le parcours unique d’un combattant. Un portrait saisissant de celui que l’on surnomme le député-poète.

 

Affiche pour Godin, le film (2011) de SIMON BEAULIEU

‘Une courtepointe cinématographique du Québec moderne, tissée par un amalgame d’archives d’exception.’

 

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Godin, le film (2011) de SIMON BEAULIEU (August 17, 2012)

 

Allures
Jordan Belson, 1961, USA, 8 min

 

 

A metaphor of creation. Spirals, circles, and abstract forms move against alternating dark and light backgrounds. An orb changes color, appearing in flash frames. Dots resembling stars or atoms and galaxies with shooting stars are created on the screen. The stars then order themselves into lines. Exploding sunbursts end the film.

 

Allures (1961) by JORDAN BELSON

 

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“It’s a glorious thing if you don’t expect an explanation.” Jordan Belson on his Art

by Jordan Belson and Raymond Foye

 

When I lived in San Francisco (1977 – 79) the person I most wanted to meet (after Bob Kaufman) was Jordan Belson. But he had already become quite a famous recluse and all attempts were rebuffed. Belson’s remarkable underground films are often paired with Harry Smith’s: they were best friends and shared a painting studio on and off from 1948 until 1953; both were supported by Hilla Rebay, doyenne of non-objective painting and co-founder of the Guggenheim Museum. As psychedelic pioneers and be-bop fanatics, they planted the seeds for much of our present visual world. Yet while Smith’s early films used geometric space as their field, Belson explored the more unbounded states described in titles like Meditation, Transmutation, and Samadhi.
 

From 1957 – 59, Belson collaborated with electronic music pioneer Henry Jacobs on the late night series Vortex: Experiments in Sound and Light at the San Francisco Planetarium. Direct antecedents of the 1960s lightshows, the concerts were vastly successful and attracted all of the “heads” of the Bay Area. Film historian Cindy Keefer writes: “In the blackness of the planetarium’s 65-foot dome, Belson created spectacular illusions, layering abstract patterns, lighting effects, and cosmic imagery, at times using up to 30 projection devices.”

 

Quite unexpectedly in 1999 Harry Smith scholar Rani Singh offered to take me by Belson’s dark and elegant San Francisco apartment, which easily could have been transplanted from 18th-century Kyoto. Belson had returned to making visual art in earnest a few years earlier. He was both wary and eager to show us a series of pastels that were a remarkable summation of his belief in non-objective art as an all-encompassing aesthetic, from the pyramids of Egypt and the temples of India, to the new optics of psychedelics, NASA space photography, and the inner visions of meditation and yoga practice.

 

Belson proved to be witty and gracious, and very much in touch with contemporary art (he was particularly fond of Clemente, Taaffe, and Tomaselli). I was invited back once or twice a year for long sessions of talking and viewing. I was not allowed to photograph or run a tape, but taking notes was permitted. Over the next five years I filled a dozen small notebooks with his remarks, and when he died in 2011 (at the age of 85) I realized he’d been dictating a kind of testament.

 

The Van Gogh syndrome is a myth that dies hard. We all want to believe somewhere there is an undiscovered genius, plying his or her revolutionary work in quiet obscurity. Belson is as close to that as I have encountered. As a visual artist his will be a posthumous career. I hope the 1,200 works carefully preserved by his wife Cathy Heinrich soon find the art audience that unknowingly needs the wisdom and grace they contain.

 

READ

 
 

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Free Radicals (1958) de LEN LYE (August 23, 2011)
Opus-1 (1964) de PIERRE HÉBERT (August 11, 2010)
Autour de la perception / Around Perception (1968) de PIERRE HÉBERT (August 3, 2010)


Yggdrasill : Whose Roots Are Stars in the Human Mind
Stan Brakhage, USA, 1997, 17 min



This film, a combination of hand painting and photography, is a fulsome exposition of the themes of “Dog Star Man.” In that early epic I had envisioned The World Tree as dead, fit only for firewood; and at the end “Dog Star Man” I had chopped it up amidst a flurry of stars (finally Cassiopeia’s Chair): now, these many years later, I am compelled to comprehend Yggdrasill as rooted in the complex electrical synapses of thought process, to sense it being alive today as when Nordic legend hatched it. I share this compulsion with Andrei Tarkovsky, whose last film “The Sacrifice” struggles to revive The World Tree narratively, whereas I simply present (one might almost say “document”) a moving graph to approximate my thought process, whereby The Tree roots itself as the stars we, reflectively, are. (SB)


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Stellar (1993) & The Wold Shadow (1972) by STAN BRAKHAGE (July 3, 2013)
Original Creators: STAN BRAKHAGE’ presented by The Creators Project (August 10, 2011)
Glaze of Cathexis (1990) by STAN BRAKHAGE (January 24, 2011)
Cat’s Cradle (1959) by STAN BRAKHAGE (January 23, 2011)



La rose de fer
Jean Rollin, France, 1973, 77 min



Ce film est une illustration du thème de l’enfermement. Rollin s’est inspiré à la fois d’un poème de Tristan Corbière et de l’univers baudelairien.


Lors d’un mariage, deux jeunes gens sont attirés par leur regards, lui, poète rencontre la jeune fille de ses rêves. Elle est belle et innocente. Lui est un jeune poète à l’esprit de Bohême. Il récite un poème et ils se retrouvent ensuite dans le jardin d’une grande maison où a lieu ce mariage. Les amoureux se donnent rendez-vous un dimanche matin pour faire du vélo dans une gare de marchandises et finissent leur randonnée dans un cimetière où le jeune homme y tire son inspiration dans le silence. Entre deux poèmes ils courent à travers les tombes. Ils s’embrassent et finissent par descendre à l’intérieur d’une tombe où ils vivent pleinement leurs passions. La nuit les surprend en sortant du caveau. Les malheureux n’arrivent plus à trouver la sortie. Ils sont fascinés par ce lieu de mort mais deviennent peu à peu déments, pensant qu’ils ne trouveront jamais la sortie et que cette nuit sera éternelle. Dans leur folie ils profanent un ossuaire et jouent avec un crâne. La femme se découvrant une âme de poète en arrivera à la conclusion que les morts du cimetière sont les seuls à être vraiment libres.


La rose de fer (1977) de JEAN ROLLIN

La rose de fer (1977) de JEAN ROLLIN

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Le viol du vampire (1968) de JEAN ROLLIN (July 5, 2012)

L'Abbatiale de la
Liturgie Apocryphe

"The production of nervous force is directly connected with the diet of an individual, and its refining depends on the very purity of this diet, allied to appropriate breathing exercises.

The diet most calculated to act effectively on the nervous force is that which contains the least quantity of animal matter; therefore the Pythagorean diet, in this connection, is the most suitable.

...

The main object was to avoid introducing into the organism what Descartes called 'animal spirits'. Thus, all animals that had to serve for the nourishment of the priests were slaughtered according to special rites, they were not murdered, as is the case nowadays".