Perjantai 27.11. / 19:00 / Annankatu 6
Lyhytelokuvasarja. 32 min.
Maailma on ja siinä on jotain, mitä voi olla vaikea tavoittaa, mutta jonka audiovisuaalinen voi avata. Tähän esityssarjaan on valittu elokuvia, jotka käyttävät rohkeasti kameraa, kuvaa ja audiovisuaalista ilmaisua dokumentaarisen ja fiktiivisen elokuvan välisillä kartoittamattomilla alueilla liikkuessaan.
Hegel and the Butterfly / Ohj. Bartosz Warwas / 2015 / Puola / 4:57
This brief and creative documentary is probably closest to, in the Polish film tradition, the style of Wojciech Wiszniewski. Performances by a human-butterfly became fodder here to express the dialectic of our collective and individual history. After the thesis and antithesis there must come the synthesis. Will it be the same in life as in the film?
The place that remains deeply unchanged before my random passage or One way to see ourselves within / Ohj. Mário Gajo de Carvalho / 2015 / Portugali / 3.00
Shooting up the town in an impartial manner forgetting the habitual frameworks and big plans, giving freedom to the camera to shoot whatever it is to appear before it and in that way we shoot the out of the field, usually what it’s not filmed. And what appears in front of the camera is a city built by people, built for people, but with the absence of them. They are not there, they are figures.
Mist / Ohj. Allan Brown / 2015 / Kanada / 4:37
For the better part of the 20th century the riviere St. Maurice in Quebec was considered one of the most polluted rivers in Canada; the most toxic concentration of which went through the 42m falls in the city of Shawinigan. Here, we see the falls and the mist with a vocal mix oscillating between a Greek chorus and a school for “chemistry as a second language” listing a small portion of the toxic or benign chemicals, end products, by products and other compounds that may or may not have made their way into the river, but nonetheless contributed to the river’s noxious reputation.
Teemapuisto / Ohj. Risto-Pekka Blom / 2015 / Suomi / 4:55
You will learn how to own . You do not owe anyone. You’ll get it all. A video about an air-filled figure at the shopping centre.
Recycled / Ohj. Lei Lei, Thomas Sauvin / 2013 / Kiina / 5:32
The following images were sourced over the years from a recycling zone in the outskirts of Beijing. We scanned more than half a million 35mm color film negatives. Those negatives build up a portrait of the capital city and the life of her inhabitants over the last thirty years. Here, we selected 3000 photos to create the animation you are about to see. On Animation Language: My previous animation works were full of cute characters, with romantic and rich background colors, and feel good music (as in This Is Love and Magic Cube And Ping Pong), too. But I don’t think they can fully represent my animation output. I feel there are still a lot of possibilities, and I would like to experiment more with different expressions in animation. That is also the reason why I choose not to use drawing in Recycle, and instead use photo processing and image sequencing, methods that I am not familiar with. They are drastically different from the 2D hand-drawn animation. So I felt at once confused and refreshed. When I first started the project, I set myself a few rules: to use the same number of photos per second, to only use photos from Sauvin’s “Silvermine” project, to only select the photos and not make any adjustments to the colors and image size, nor would I do any cropping, and lastly, to use simple and low-tech method to complete this animation. It is a practice in self-restraint, to work within a set frame of rules. In addition, when making the selection, I purposefully chose the ones that have some wear and tear or damped. When put together as an animation, they would generate a certain unique beauty.
copy complete / Ohj. Maria Auerbach / 2015 / Saksa / 8:23
Before the personal computer found its way into the private households, it was believed to be a “miracle box” with thousands of possibilities. In comparison its application in the reality was rather prosaic. The cinema knew how to use these circumstance. In the late 1970s until the turn of the millennium feature films were developed in which the abilities of the film computer hardly were compromised. In contrast to its actual role models the application of computers were used in the film industry for visual and auditory adventures. It bubbled over with graphics with all kinds of colours and shapes, it peeped and rumbled even with an ordinary continuous text. These cinematic presentations of the computer generates the original material for “copy complete”. Sequences out of cinema movies of the 1970s, 80s and 90s connect well and are accompanied with equivalent computer sounds as well as the original film music by split screens together into a collage. In this manner “copy complete” undertakes a journey to the origin of the digital era. In which the computer was observed to be a opportunity or threat, as well as a resource of the good or an instrument of the evil however it may be a gate to a worldwide communication and an instrument for totalitarian supervision. The computer within films serves as a reflection of the society and broaches the issue of the different aspects of human sensitivity opposite to new technologies.
The Plastic Bag, ohj. Jørgen Johansen / 2015 / Norja / 1:00
Two strangers share a moment with a plastic bag.