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This is the line-up of videos for the February 2009 open screening. The program is subject to change and the running order on the night may be different from that shown here. All films/videos will be screened from DVDs. After the list of films is some information about the filmmakers.
MURDER ON THE DANCE FLOOR
(2008, 4min 38sec, color, sound, Australia)
Director: Christos Linou
Claymation. A microbear dance routine is interrupted by a murdering piggy bank until Glump and Rat friend put things right.
(2008, 5mins, color, sound, Australia)
Director: Christos Linou
(2008, 1min, video, color, silent, USA)
Producer/Director: Jeremy Newman
The window is a reflective membrane separating/joining a domestic interior and the forces of nature. With lightning flash illumination, the female figure is variously primal silhouette and mythical goddess.
THE ECSTACY OF GARY GREEN
(2006, 15min, Betacam SP/mini DV, color, sound, Australia)
Writer/Director/Re-animator: Jack Feldstein
The narrative elements of a Spalding Gray monologue and the visual style of Andy Warhol pop art. This inventive digital re-animation focuses on Gary Green, a guy who goes on a search for happiness. The Ecstasy of Gary Green had its world premiere at the Rotterdam International Film Festival in 2006, in competition for the Tiger Awards, and received an Honourable Mention at the 2006 Melbourne International Animation Festival.
(2005/2008, 9 min, super8, sound, Australia)
Director: Richard Tuohy
(2007-2009, 10min 30sec, DV, color, silent, Australia)
Director: Gene Cline
Some green poles on a tram. There are also people, bits of reflective glass and other things, both inside the tram and visible through the windows.
(2008, 11min 40sec, DV, color, sound, Australia)
Director: Motoko Shimizu
WRATH OF THE RIGHTEOUS MAN
(2007, 15min, mini DV, color, sound, Australia)
Writer/Director: Lucien Spectre
A devout Christian follows the scripture when shocked by a Domestic Disturbance.
ABOUT THE FILMMAKERS
Gene Cline lives in the northern suburbs of Melbourne and makes slightly austere experimental videos in the structuralist, materialist and abstract modes.
Jack Feldstein is a professional television and film scriptwriter, filmmaker and re-animator in Sydney, Australia. As a scriptwriter he has worked extensively on Australian series and in Network Production for Australian Networks. As a filmmaker he works only in neonism…a deconstructionist, post-modern animation filmmaking style that utilises appropriation and pop art techniques in a “Warhol meets Vegas” look. A stream-of-consciousness narrative with a cartoon aesthetic.
Christos Linou was born in Sydney, raised in Adelaide and lives in Melbourne. Since graduating in dance from the Centre for Performing Arts in Adelaide in 1987, he has worked as a choreographer / director and performer working in experimental theatre and film. He has integrated performance, literature, visual imagery, with new and traditional technologies to create new and absurdist dance theatre, experimental opera and film.
Jeremy Newman has directed numerous documentary and experimental videos. His work is frequently shown at film festivals and has also aired on several PBS stations. He is Assistant Professor of Communications at the Richard Stockton College of New Jersey. Newman earned an MFA in Media Arts from the Ohio State University.
Motoko Shimizu is a student at the International Film School Sydney.
Lucien Spectre has made several shorts from mid ’00s, specialising in “transgressive cinema”. “Righteous Man” screened at the 2007 Melbourne Underground Film Festival. He is co-organiser of the Harry Shine Memorial Cinema.
Richard Tuohy quit his job in educational video to become a full time Super 8 filmmaker in 1990. He was only young. After making a number of longish self-funded narrative films on Super 8 and 16mm, he quit his non-job as a filmmaker and went to university for seven years, studying philosophy. After quitting philosophy, Richard moved to Daylesford. He began making Super 8 films again in 2004. In 2006 he and his partner began Nano Lab (a Super 8 processing lab) and he has had no free time since.
The deadline each month is the Monday prior to the open screening on a Friday. See the latest Open Screening date announcement for the next deadline. Discs received after the deadline can be held over to be shown the following month.
Send your DVDs to:
c/o Shane Lyons
PO box 19099
– no entry fee (it’s an open screening, not a festival).
– All work submitted gets screened (at the upcoming or next show, depending on how many submissions we get).
– Interstate and international entries welcome.
– DVDs only (for the moment).
– maximum running time of 15 minutes (so the maximum number of people can screen their work).
– Anything up to five years old is considered recent.
– Discs can be returned on the night if you attend or by post if you include a stamped self-addressed envelope.
The first open screening of 2009 is happening on Black Friday, the 13th of February at 9pm.
127A Campbell Street
Get your DVDs to us by Monday the 9th of February. However, discs received later than this can be shown at the next screening in March.
In early August, 1896 a “clever young character comedian with a ‘bright’ future”, Harry Shine, is headlining at the Melbourne Opera House, a 2000 seat firetrap situated near the corner of Bourke and Swanston Streets.
After just two weeks of star billing, however, Harry finds himself bumped by a touring magician from San Francisco, Carl Hertz, who has brought along a fancy new contraption he’s picked up in London called the Cinematographe – “The Wonder of the Nineteenth Century”.
Hertz’s film screenings, the very first in Australia, are a sensation. Newspaper ads for the Opera House are now dominated by this amazing new attraction while Harry Shine’s name drops further and further down the bill until, after a fortnight, he is dropped from the line-up completely. The very next day the cinematographe season is extended “by popular demand and at great expense to the management” and a new programme of Moving Photographs announced, including such attractions as “negro dancers”, “boxing cats” and “a serpentine dance performed by a dog.”
In the tragi-comic history of cinema in Australia one over-riding theme is the dominance of our screens by the United States and Britain. It seems fitting then that we name our own humble effort at bringing more Australian work to the Australian screen in honour of the very first casualty of that dominance: Mister Harry Shine.