EIGA ARTS January Programme/Call for submissions/etc...

[Clemente Carlos]

Hi Joss:

I am in West Palm Beach, Florida, USA. I would like to know
how successful are your efforts and how could I start
a similar group here in West Palm Beach. What are the
costs and resources needed to embark in such an endeavor.
How many people are required to have a good showing.
Any assistance would be welcomed.

---Joss Winn <edq39077 at saga-ed.go.jp> wrote:
>
> This post contains information on a forthcoming screening of
experimental
> work in Japan.  It is quite long but split into sections so if you
don't
> want to read it all, just scroll down to the listing!
> 
> It is also a call for submissions, so if you want to show work in
Japan and
> have it forwarded to other possible venues (as I find out about
them) read
> on....
> 
> If you are considering starting a festival of your own, you may find
the
> first section of interest.
> 
> 
> 
> 				EIGA ARTS
> 
> 
> 
> The first EIGA ARTS screening will be on Saturday, January 30th on the
> fourth floor of the AVANSE building (Rm 3), Saga City, Kyushu, Japan.
> 
> This month's programme includes experimental films and videos from
Japan,
> Korea, the UK, and USA.
> 
> Below is a list of January's programme, including a basic break down
of
> costs in Japanese Yen (currently approx. 112Y=$1).  EIGA ARTS is
free but
> donations on the door are encouraged.  Filmmakers are paid and there
is no
> submission fee.
> 
> It is hoped that donations will cover filmmaker's fees.  All other
costs
> are initially supported by my salary...... Financial assistance for
this
> month's screenings has been promised by Saga AGA, a local group
promoting
> international relations. I have yet to be told how much I will be
given,
> although I anticipate around Y20,000.
> 
> The screening room at AVANSE seats up to 95 people, although more
will be
> squeezed in if necessary.  Good facilities for screening SVHS, VHS,
16mm
> are available.  8mm projection should be possible soon.
> 
> I would be grateful if anyone has any comments on the way I am
running EIGA
> ARTS.  This is the first time for me, and I am doing it alone, so all
> criticism, advice, etc. would be very helpful.
> 
> I'd like to thank everyone who has sent words of encouragement,
festivals
> that have been in touch with me, people that have put me in touch with
> other people, and of course, film/video makers who have submitted
their
> work.  I hope EIGA ARTS manages to live up to my modest ideals for
it. You
> will notice that I am showing a number of video versions of films. 
In the
> case of Peach Baby Oil, it was beacuse I don't have 8mm projection
> facilities.  A print was not available for A BIT BITTER and to ship an
> insured print of BABY HOME was beyond my 'budget'. Originally, I
anticpated
> this problem and considered showing only work made on video.
However, I
> decided that if the filmmaker is not too concerned with showing video
> copies, then I could deal with it too.  Besides, I'd rather show video
> copies than ignore a vast and important body of work made on film. I
have
> consciously not developed a theme for the first month, prefering to
offer
> examples of the type of work I hope to continue to show at EIGA
ARTS.  I
> might run a particular theme some months, depending on how much time
and
> funding I have in order to be so selective.  My main objective is to
show
> experimental work, particularly that which questions the genre of
> 'documentary'.   It's been a lot of fun preparing for the first
screening
> and I would recommend it to anyone.  Now, my only hope is that
people show
> up....
> 
> 
> LISTING:
> 
> EIGA ARTS - January 30th.  6.30-9.30pm
> 
> MONGOLIAN PATY
> Manjome Jun (Colour, 16mm {8mm}, 19mins, 1996, JAPAN [No Dialogue])
> 
> CREOSOTE
> Eric Saks  (B/W, Video, 42mins, 1997, USA [English Language])
> 
> MOMOIRO BEBIIOIRU/PEACH BABY OIL
> Wada Junko (Colour, Video {8mm}, 16mins, 1995, JAPAN [Japanese with
English
> subtitles])
> 
> A BIT BITTER
> Jung Ji-Woo (Colour, Video {16mm},14mins, 1996, KOREA [Korean with
English
> subtitles])
> 
> BABY HOME
> David Woods  (B/W, Video {16mm}, 30mins, 1997, UK [No Dialogue])
> 
> 
> TOTAL TIME: 121mins
> 
> TOTAL COST OF FILMS/VIDEOS: Y31,000
> COST OF SCREENING ROOM AND USE OF EQUIPMENT: Y11,000
> PROMOTION (flyers/posters): Y2,000
> 
> Below are descriptions of the work to be shown in January's programme.
> Following this, is a description of EIGA ARTS for filmmakers
considering
> sending their work.  I will endeavour to forward/loan preview tapes to
> similar film/video groups within Japan for possible
screening/distribution
> if the filmmaker wishes.  Arrangements should be made personally
with me,
> Joss Winn.
> 
> 
> MONGOLIAN PATY
> 
> Grand Prize Winner at the 1997 IMAGE FORUM FESTIVAL, Japan.
> 
> "Mongolian Impressions." Shooting for this film was done in July,
1995 in
> Mongolia (the Southern Gobi and elsewhere). Besides conventional
shooting,
> I also used single-frame shots and manually advanced time exposures.
 The
> film was edited and completed in September 1996." (Manjome Jun)
> 
> At first, this film seems like a simple one, constructed out of a
series of
> long one-shot takes, but the second half is shot with a manual shutter
> release that subtly alters the shooting speed.  This form of
shooting makes
> one think, for example, of the changing speed of hand movements
during a
> musical recital.  The effect of this style is a transfiguration of
> Mongolia's natural wonders into a personified landscape, and a
humorous
> portrayal of things moving ever so slightly (flowers, clouds, animals,
> exercising women). The title 'Paty' is a variation of "Party"; by
leaving
> out one letter and by recording the title in a personalised style, the
> director claims a broad array of meanings becomes possible.  This is a
> piece in the director's series "Film as Dance."  (IMAGE FORUM FESTIVAL
> Catalogue 1997)
> 
> 
> CREOSOTE
> 
> "CREOSOTE combines two analogous stories into a unique vision of
> individuality, and modern spirituality. The true story of Jared
Negrete, a
> young boy who was lost on a Boy Scout camping trip and never found, is
> embroidered with the life story of St Francis, also known as the
'hippie
> saint'.  The visual style is arresting, and creates a liminal world
wherein
> figurative representations fall away into hallucinatory abstractions.
> CREOSOTE is executed through stop-frame animation and puppetry
technniques,
> reminiscent of graphic religious pamphlets.  Told through meditative
> voice-overs, aleatoric sound design, and Retablo-like intertitles,
CREOSOTE
> presents a visceral religious experience." (Eric Saks)
> 
> 
> MOMOIRO BEBIIOIRU (PEACH BABY OIL)
> 
> Grand Prize Winner at the 1996 IMAGE FORUM FESTIVAL, Japan.
> 
> "What should I do when I grow up?" A strange space only several inches
> above my one room apartment.  Our twenty year old heroine dreams of
staying
> as a 'girl'...The sweet unreal narration and the provocative, erotic
images
> produce a strange chilling yet enthralling effect on the audience. 
Wada
> claims, "[What should I do] When my body, when my pet crocodile,
when my
> one bedroom apartment grows larger? At twenty I was acting like a
child at
> odds with herself, but I was already too old and large." (IMAGE FORUM
> FESTIVAL catalogue 1996)
> 
> 
> A BIT BITTER
> 
> Best Film at the Seoul Short Film Festival, 1996.
> 
> "This film depicts the crushing psychological fatigue a housewife
> experiences in her everyday life in a working class household.  The
husband
> is a union activist whose grand liberal ideals are nowhere to be
seen in
> his family life.  The wife struggles to make ends meet, over
burdened by
> emotional stress.  The narrative style is that of a feature film,
while the
> director succeeds in conveying an actual realism." (YAMAGATA
INTERNATIONAL
> DOCUMENTARY FILM FESTIVAL catalogue 1997)
> 
> "Viewing A BIT BITTER requires a contextual understanding of Korea
in the
> 80s.  It was a time dictatorship of the military regime was at it's
utmost
> peak, hence an age of repression especially for the young
generation. Those
> youths, now aging and wearied in the diverted political climate of
the 90s,
> are the ones this film seeks to look into. I want to talk about our
common
> everyday lives.  I especially wanted to talk about the people who are
> living hard lives through the 90s with their children named after
> 'democracy' or 'freedom' or 'liberty'.  Having lived through the
late 80s,
> I greatly admire and respect their lives while at the same time feel
deep
> pain in my heart for them." (Jung Ji-Woo)
> 
> 
> BABY HOME
> 
> "BABY HOME is an experimental documentary, shot in black & white 16mm,
> lasting 30 minutes.  It employs only still images which "document" 
the
> last thirty minutes of a home birth.  The whole film was shot on a
rostrum
> camera (animation stand), where the 72 still images (from the only
two 35mm
> rolls of still film I shot at the time of the birth) are "explored",
and
> synchronized with the unedited sound track of the "event".  (The
only words
> discernable, at one moment, are "baby home" - spoken by a sibling
child of
> the new baby)."
> 
> "On a formal level the fact that the sound track is uncut, and each
change
> of still picture on the screen is synchronized with the
"click-whirr" of
> the still camera, leads the audience to realize that the film is a
> documentary phenomenon which is both new in form and which does not
hide
> the minimal intervention involved.   The film is made to support the
home
> birth movement, which is opposed to the unnecessary hi-tech and
> interventionist medicalization which has come to be the condition in
most
> hospital births.   The strategy with which the film is constructed
attempts
> to mirror the naturalness of the birth.  Unlike 25/25 fps
live-action film
> / video footage of the "event", which cannot help but attempt to
pretend
> that the audience is involved, the audience in baby home is forced
to watch
> and wait, watch and explore the frame, and wait for the next
frame-change.
> BABY HOME thus seems to force an active role on the audience (unlike
> 
=== message truncated ===

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