TIE: International Experimental Cinema Comes to Montserrat

October 11, 2012

Are you interested in contemporary screen culture? Montserrat is honored to feature a screening by filmmaker/curator Christopher May of The International Experimental Cinema Exposition (TIE)

TONIGHT, Oct. 11, at 8 pm in Hardie, 201

A big thank you goes out to Prof. Ethan Berry for making this incredibly opportunity available to our students and Montserrat community.

TIE will present an eclectic and contemporary avant-garde film show. The program features Super-8, 16mm and multiple projection pieces from artists that include Paul Clipson, Pablo Marín, Laida Lertxundi, Jason Halprin, Adam Levine and many more. May will introduce the program and be available to answer questions.

Highlights include excerpts from FILM (Parkour), an expanded cinema piece by May and a 16mm premier by artist, Paul Clipson entitled Another Void.

May conceived TIE in Colorado in 2000 along with the support of founding Board Members Stan Brakhage and Standish Lawder. In a vision shared by artists, filmmakers and innovative thinkers from around the world, TIE joined the realm of the avant-garde while exhibiting an invigorating and creative experimental cinema. Since its inception, highly acclaimed TIE events have been held in Europe, South America, Canada and the United States. TIE continues to explore the inherent visual artistry of experimental cinema, internationally, through intensive film festivals, curatorial research, exhibitions, archival projects, scholarly presentations, conferences, and other cultural interventions. It is through dedication to the fine artistry of motion-picture presentation, combined with a soaring level of curatorial innovation, that TIE continues to provoke a strong dialogue with contemporary screen culture.

Admission to this screening is free and open to the public. Early registration is strongly encouraged to secure seating at this intimate venue.

For more information or to register,
visit: experimentalcinema.givezooks.com/events/tie-beverly.

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Click here to learn more about the special feature presentation:

TIE’s Full Program:

The Crossing
(2007, USA, 16mm, 7 minutes)
A cinematic analogue to the uncertain sense of scale that permeates life-changing geographic and spiritual crossings.

(2010, USA/Thailand, 16mm, 2 minutes) Shot at dawn in the Gulf of Thailand and later processed by hand, Koh’s degraded and sublime images of fishermen bringing in the morning’s catch are elevated to the surreal by a soundscape of restless cicadas.

(2012, Argentina, Super-8, 5 minutes) Natural and mechanical forces of power intertwined through structural observation

Twin Propellers
(2010, USA, 2 X Super-8, 3 minutes) The two legs of a round-trip flight are shown simultaneously. Patterns formed by the sun reflecting off the surface water flow outward across the two images, and the propellers from each wing lumber towards a convergence.

Storm Crossings: Shifting Geometrics
(2012, USA, 16mm, 15 minutes) The film presents a generated intersection between two simultaneously decreasing and increasing storm systems.

Persian Pickles
(2012, USA, 16mm, 3 minutes) Knotted and patterned

The Influence of Ocular Light Perception on Metabolism in Man and in Animal
(2005, Austria, 16mm, 6 minutes) This found footage film uses an Italian sixties soft porn soundtrack which is repeated two times. Each time a sequence of images is synched to the soundtrack. The film images are illustrating acts of ocular light perception as well as imagery with strong visual impact. Just when the end is expected the film starts again as a variation of the first part. Both halves can be imagined as a double projection, but this can actually be done in the viewers imagination after the screening.

Another Void
(2012, USA, 16mm, 11 minutes) Another Void is the result of a continuing practice of working in Super 8mm film, utilizing all of the format’s limitations and benefits to maximum effect. The process of in-camera editing, in this case, the layering of progressions of hundreds of shots over each other, at any moment up to five or six images at a time, yields an array of unexpected, collaged compositions, largely unplanned for in specifics, but achieved with a particular design in mind. Most of the overall structure of the film resembles a performed piece of improvised music, like that of the soundtrack by Jefre Cantu-Ledesma.

And We All Shine On
(2006, USA, 16mm, 7 minutes) An ill wind is transiting through the lonely night, spreading myth and deception along its murky path. Conjuring a vision of a post-apocalyptic paradise, this unworldly broadcast reveals its hidden demons via layered landscapes and karaoke, singing the dangers of the mediated spirit.

Cry When it Happens / Llora Cuando Te Pase
(2010, USA, 16mm, 14 minutes) Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing.

Vom Innen; von aussen
(2006, Austria, 16mm, 20 minutes) Observing something from the outside and at the same time talking about the inside: one possible definition of successful cinema.

recent excerpt from FILM (Parkour)
(2012, USA, 2 x 16mm, 6 minutes) Austin, Texas: Will & Tristan. This double-projection piece is a recent excerpt from FILM (Parkour), a continuingly organic, collaborative and experimental cycle of expanded cinema revolving around portraitures of Traceurs. “…a slight undercurrent of sensuous intimacy… the lens found and lingered on the traceurs’ genuine smiles, the tip of the ear or the playfulness in both movement and pause.” – Michelle Duer

night roll 1
(2012, USA, 16mm, 3 minutes) Filmed in Boulder, Colorado, this 100 foot roll of 7285 Ektachrome color reversal is part of a collaborative multi-media project entitled, At Least We Know that It’s Not All About You… a secret history of skateboarding.