ANNEXINEMA: WRIT* [ING/ERS/TEN]
SURFACE GALLERY
16 Southwell Rd
Nottingham, NG1 1DL
8pm Friday 3rd July 2009


A fringe event of ScreenLit, Broadway's festival of Film, TV & Writing.

This programme took a broad look at the intersection between film and writing. A brief article on this event can be read here: Weave, Warp and Woof

The programme was as follows:

Part 1
FREDERIQUE DEVAUX
ALTERGRAPHIES 1
France, 1981, silent, B&W, 6mins,16mm
The film-strip as surrogate paper; world writings flash before our eyes, comprehended not as words, but images alone.

VOLKER SCHREINER
TEACHING THE ALPHABET
Germany, 2007, sound, colour, 4mins, DV
Schreiner spells out the alphabet through a montage of Hollywood films, though the images representing letters become increasingly complex, offering dramatic irony as we link King Kong, Lassie, and Marilyn Monroe to ‘K’, ‘L’, ‘M’, etc.

PAUL SHARITS
WORD MOVIE
USA, 1966, sound, colour, 4mins, 16mm
Word Movie moves at an incomprehensible pace with words appearing at 24 frames per second jarring against a soundtrack where one word is read alternatively from two texts: a beguilingly complex film from a master of structuralism.

SCHMELZDAHIN
DER GENERAL
Germany, 1987, sound, colour, 13mins, 16mm
Film collective Schmelzdahin used photography, montage and material processing to study the transience of things. Der General is a haunting abstract film shot on super-8, if Tarkovsky made home-movies they might look like this.

IAN NESBITT

MACHINE POEM #14
Nottingham, 2008, sound, colour, 4mins, DV
The mechanical dismantling and reassembly of a Robert Frost poem.

B.S. JOHNSON
YOU’RE HUMAN LIKE THE REST OF THEM
UK, 1967, sound, B&W, 18mins, 16mm
Renowned twentieth century experimental novelist B.S. Johnson’s explores the possibility of narrative, and his perennial theme of mortality, in a new medium. Johnson carries over his experimental approach with an unusual editing technique and a script written in blank verse.


Part 2

DAVID LAMELAS
READING OF AN EXTRACT FROM LABYRINTHS BY J.L. BORGES
Argentina, 1970, silent, B&W, 5mins, 16mm
Lamelas makes the already terse prose of J.L. Borges even harder to understand by eliminating sound in the reading of his text. Brief subtitles only serve to confuse the matter further.

OWEN LAND
REMEDIAL READING COMPREHENSION
USA, 1970, sound, colour, 5mins, 16mm
Jogging through a film permeated by sleeping women, commercials and TVs, Land writes directly onto the image, telling us that “this is a film about you … not about it’s maker”.

STAN VANDERBEEK

POEMFIELD 2
USA, 1971, sound, colour, 6mins, 16mm
An early computer experiments in which dazzling coloured pixels combine to make lush digital poems.

SIMON ELLIS
TELLING LIES
Nottingham, 2000, sound, colour, 4mins, DV
A comedy of errors and erroneous information told entirely in animated captions.

PETER ROSE
THE PRESSURES OF THE TEXT
USA, 1983, sound, colour, 17mins, DV
A parody of art/critspeak, educational instruction, gothic narrative, and pornography, Rose’s film uses direct address, invented languages, ideographic subtitles, sign language and simultaneous translation to investigate the feel and form of sense, the shifting boundaries between meaning and meaninglessness.

Installed
Marysia Lewandowska and Neil Cummings
TEARING
UK, 2002, sound, colour, looped DV

Jeff Baker
AN INTRODUCTON TO COMMUNISM
Nottingham, 2006, sound, colour, looped DV

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This event was part of Broadway’s Screenlit Festival, without whose generous support the event would not have been possible. Thanks are also due to Surface Gallery and the kind support of the volunteers.