Elemental 7
Chris Carter, Cosey Fanni Tutti & John Lacey, UK, 1983, 59 Min
All pieces were composed and played by Chris Carter, Cosey Fanni Tutti and John Lacey, recorded in 1982 and completed in 1983
Each piece from this video is a story in itself, each saying something different. The music was recorded specifically with each piece in mind, the visual came first. It is not a ‘pop promo’ video
Video production is within anyone’s reach, the only limit being your imagination
On a beaucoup parlé d’Arthur Lipsett (jamais par contre de sa participation au film Hors-d’oeuvre) sans avoir eu la chance de voir Fluxes et son ‘agonized intensely personal N-Zone‘ …
With N-Zone (1970), Lipsett tried something different, including footage of family and friends as counterpoints to his “objective” montage sequences. The film was attacked and Lipsett left the NFB’ (ici)
… À défaut donc d’avoir trouvé le film en ligne, on a déniché ces quelques images :
N-Zone
Arthur Lipsett, Canada, 1970, 45 min
Arthur Lipsett pieces together his visions of this fragmented world from odds and ends, even leftovers, from other people’s photography and sound recording. By juxtaposing his snippets of “found film” with snatches of comment or dialogue echoing the banality of human communication, Lipsett shows the emptiness of much of what we say or do. N-Zone is one man’s surrealist sampler of the human condition...
Source des images ici.
Coil ‘Heartworms‘ tirée de la compilation Terra Serpentes (1996).
Vidéo réalisé à partir d’images du film Garden of Luxor (1972) de DEREK JARMAN
‘There’s too much blood in my alcohol’
Journey to avebury
Derek Jarman, UK, 1971, 10 min
Coil‘s Journey to Avebury was a ten-minute soundtrack made for a pre-existing Derek Jarman film, recorded in the early-mid 90s and never officially released …
… The short film doesn’t just record a visit to a historical (indeed, pre-historical) site; it is a piece of history itself, shot on Super 8 within Jarman’s first year of film-making (1971) and an obvious product of the period’s counter-cultural interest in occult secrets and mystical traditions. This is a film about the English countryside that seems rapturous in its appreciation, and it reminds you that for all of Jarman’s antagonism to the dominant British culture – especially during that grim stretch known as Thatcherism – it’s easy to put him within a group of ultra-English artists and mystics: your William Blakes, your John Dees, your Peter Ackroyds (ici) …
#Jaune, #Photographie, #Peinture, #Territoire
In the Shadow of the Sun
Derek Jarman, UK, 1980, 54 min
A DEREK JARMAN film with music by Throbbing Gristle. DEREK JARMAN used some of his 70s home movie footage to produce this wonderful piece of exploitational avantgarde cinema.
Actually the original material has been slowed down to a speed of 3-6 frames, then JARMAN added colour effects and the pulsating, menacing score by Industrial supergroup Throbbing Gristle. The result is a piece of art not to dissimilar to JARMAN’s painting work in using found footage as elements of memory and mind that resemble ideas reflected in the Cabala and in C.G. Jung’s writings about an archetypical past that is hidden in everyone of us. The first In the Shadow of the Sun (1974-80), was originally put together by JARMAN himself in 1974 from re-shot Super-8 material including footage from Tarot (aka the Magician, 1972) and A Journey to Avebury (1971), amongst several others.
The film was eventually blown-up to 35mm and premiered at the 1981 Berlin Film Festival. The focus on ritual, mysticism and obscure alchemical symbolism links it with the work of Anger. However, JARMAN’s preference for the work of Carl Jung and the “white” magician John Dee, is quite distinct from Anger’s invocations of the “black” magician A. Crowley.
