Festival of (In)Appropriation #10 (Encore) [Online]
View this program
Fri Jun 12: 6.00pm PDT – Sun Jun 14: 11:59pm PDT
Fri Jun 12: 6.00pm PDT – Sun Jun 14: 11:59pm PDT
BLACK LIVES MATTER. In recognition of the importance of the current moment, NWFF is donating ALL PROCEEDS from our June film screenings to organizations that empower the Black community, including Black Lives Matter Seattle-King County, Trans Women of Color Solidarity Network, Lavender Rights Project’s WA Black Trans Task Force, and Rainier Valley Community Clinic. Learn more about this initiative here or donate directly to NWFF.
Northwest Film Forum is SCREENING ONLINE! NWFF’s physical space is temporarily closed in light of public health concerns around COVID-19, but community, dialogue, and education through media arts WILL persist.
• • HOW TO WATCH • •
- Purchase a ticket through Brown Paper Tickets.
- Registrants will get an email receipt from Brown Paper Tickets containing a link and password for viewing, under “Ticket Details”. (Don’t see it? Check your spam filter.) The password will expire at midnight PDT on June 14.
- If you encounter any issues logging in, please contact louie@nwfilmforum.org for a quick follow-up.
Festival -
Local Festivals Hosted at NWFF
Discussion
** Co-curators Jaimie Baron, Lauren Berliner, and Greg Cohen will be joined by Adam Hyman of LA Filmforum to host a Zoom Q&A with filmmakers Jennifer Proctor, Penny Lane, Phoebe Tooke, and composer Wayne Grim on June 13 at 5pm PDT. We will send all registrants a link to join the Zoom that day! A recording of the conversation will accompany remaining screenings. **
About
Collage or compilation. Found footage film or recycled cinema. Remix or détournement. Whatever one might call it, the practice of incorporating preexistent media into new artworks engenders novel juxtapositions, new ideas, and latent connotations… often entirely unrelated to the intentions of the original makers. In that regard, such works are truly “inappropriate.” Indeed, the act of (in)appropriation can reveal unimagined relationships between past and present, here and there, intention and subversion, artist and critic, and perhaps even compel us to reexamine what it means to be the “producer” or “consumer” of visual culture itself.
Fortunately for our purposes, the past decades have witnessed the emergence of countless new kinds of audiovisual material available for artistic (in)appropriation. In addition to official state and commercial archives, resources like vernacular collections, home movie repositories, and digital archives now provide the artist with a wealth of fascinating matter to reprocess, repurpose, and endow with new meaning and resonance.
Founded in 2009 and curated by Jaimie Baron, Greg Cohen, and Lauren Berliner, the Festival of (In)appropriation is a yearly showcase of contemporary, short-form, audiovisual works that appropriate existing film, video, or other media and redeploy them in “inappropriate” and inventive ways. This year marks the culmination of the Festival’s first decade, with a program that ranges from militant political documentary, uncanny TV supercuts, and raucous re-mix juggernauts, to quasi-DIY orphan film animations, haunting YouTube mash-ups oozing with existential teen angst, and a brooding digital experiment performed upon a single, black-and-white, still photograph.
The Program:
Identity Parade
by Gerard Freixes Ribera
(Spain, digital video, b/w, sound, 2017, 4:18)
Drew has escaped and is stalking Melinda, but who is hiding behind the mask? Film made by remixing and manipulating archival footage. (Gerard Freixes Ribera)
Nothing a Little Soap and Water Can’t Fix
by Jennifer Proctor
(USA, digital video, color, sound, 2017, 9:15)
Acting Erratically
by Tuff Guts, Hazel Katz, Daniel Goodman
(USA, HD video, color, sound, 2018, 15:08)
Normal Appearances
by Penny Lane
(USA, HD video, color, sound, 2018, 5:00)
“Women watch themselves being looked at.” – John Berger
E
by Anna Malina Zemlianski
(Germany, digital video, sound, color, 2018, 2:21)
This is a found footage animation film. It’s made from approximately 770 laser printed film stills, which were manipulated by hand—drawn upon with pastels and charcoal, torn and collaged—and then scanned and put together into an animation. The film stills were taken from Niklaus Schilling’s Nachtschatten (1972). (Anna Malina Zemlianski)
Only the Dead
by Aaron Valdez
(USA, digital video, color, sound, 2016, 3:45)
A supercut of television’s The First 48. (Aaron Valdez)
derivation of the mean lifetime
by Phoebe Tooke
(USA, digital video, b/w, sound, 2015, 8:40)
A poetic contemplation of the rate of decay and extinction. With subtle and meditative gestures, this film transforms from a still image into a blank canvas. (Phoebe Tooke)
Drive with Persephone
by Mille Feuille
(Canada, HD video, color, sound, 2018, 10:30)
The ancient myth of Persephone’s abduction retold through “drive with me” YouTube Vlogs. (Mille Feuille)
Sand
by Brice Bowman
(USA, 8mm transferred to digital video, color, sound, 2015, 8:48)
In Brice Bowman’s film Sand, the principal issues are the manner and persistence of the sociological collective unconscious being forwarded through time by way of the surviving generations which survive as personal contributions to the collective unconscious. (Brice Bowman)
The Was
by Soda_Jerk
(Australia, HD video, color, sound, 2016, 13:40)
A sample-based video for now, about the time before now. Part experimental film, part music video and concept album, The Was is the collaborative meeting of Australian sample artists Soda_Jerk and The Avalanches. Constructed from over a hundred rotoscoped film samples, The Was is a de/tour de force through the neighborhoods of collective memory.
Phoebe Tooke Bio
Wayne Grim Bio
