1084 N MILWAUKEE, CHICAGO

MOVEMENT MATERIAL

Camera/Dance Works by Jeremy Moss & Pamela Vail
Artists in Attendance!

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The Nightingale Cinema, 1084 N. Milwaukee
Wednesday, December 7th, 7 pm, $7-10

The Nightingale welcomes Jeremy Moss and Pamela Vail to present a 60-minute program of video, 16mm projection, and live performance that highlights transfigurative gestures via the collision of camera and dance. This program explores the roles and functions of both the cinematographer (Jeremy Moss) and the dancer (Pamela Vail) while engaging questions of space, movement, and the ways in which the frame and the cut create alternate walls and rhythms. The progression of this camera/dance collaboration has led the artists to pointedly examine equality, balance, interactivity, and reciprocity between both forms.

Jeremy Moss and Pamela Vail have been actively collaborating since the fall of 2008 and their collective films and videos have shown at prominent national and international festivals including Experiments in Cinema, Crossroads in San Francisco, Cucalorus, Next Dance Cinema, Cinedans in Amsterdam, Arkipel in Jakarta, and at renowned North American venues such as the Northwest Film Forum, San Francisco Cinematheque, Vox Populi in Philadelphia, and Echo Park Film Center.

Their non-narrative visual explorations investigate and present the singular moving body via structural camera and rhythmic editing. Both durational and intense, phrasing of movement and cutting range from assaulting and severe to meditative and lulling. Through this program, the artists ask: how do/can camera and movement inform the other, and offer new possibilities without favoring one over the other? Can the camera act as a dynamic partner, more than simply a new “stage” or documenting device for the dancer? Can the dancer be more than a subject embedded within the frame and altered by the cut? What is the role of location when considering the duet between dancer and camera? How can the dance film continue the early investigations of camera and movement radically propelled by Maya Deren in the twentieth century.

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Filed under: 16mm, artist in attendance, collaboration, dance, experimental, hand-processing, landscape, music, performance, place, rural, sound, Uncategorized, video

PETER HUTTON

Swimming in the Valley of the Moon
White Light Cinema and the Nightingale
present Three Films by Peter Hutton

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The Nightingale Cinema, 1084 N. Milwaukee
Sunday, November 20th, 7 pm, $7-10

This year, the experimental film world lost one of its keenest eyes.

Peter Hutton was an elegant ruffian, a casual radical, insistent on looking deeply, on seeing as seeking, on stilling oneself and attuning one’s sense of time to match the place. The films tonight, like most of his oeuvre, are presented in silence.

Hutton’s films find their place in the trajectory of landscape art. The twin artistic influences that dominated Hutton’s early creative life were East Asian aesthetic philosophies and his experience as a merchant marine. He remarked often that this trained him to see. It was a skill that he continued to hone over four and a half decades. He worked slowly: shooting and exploring, watching and re-watching, maintaining and honing a clarity of vision as patient as it was explorative. His films are transportive—not simply to the times and places of their making, but for our senses of seeing. This work is gorgeous—it can make celluloid fetishists of the most hardened viewer—and leaves the viewer in a state of grace, unencumbered by trying to explain its virtues. In addition to the internal composition and tonality of his images, his film are guided by his dedication to revealing stillness in motion and motion in stillness, a devotion to the poethics of sequence and a trust in both his subjects: those opposite his lens and those before the screen. We are made more patient through his films.

Tonight’s screening features a very early work, made in graduate school, which diaristically traces his life at the time and his Bay Area countercultural milieu; one of the many excellent films he made of the eponymous river over the thirty-plus years he lived in the Hudson River Valley, teaching at Bard; and a city symphony for Łódź in the midst of a transformation. We hope you can join us for this too-rare opportunity to honor the life and work of Peter Hutton. (JM)

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Filed under: 16mm, autobiography, documentary, environmental, experimental, film, travel

CANTOS

Recent 16mm Films by Margaret Rorison
Filmmaker in Attendance!

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The Nightingale Cinema, 1084 N. Milwaukee
Friday, November 18th, 7 pm, $7-10

The Nightingale welcomes Margaret Rorison to present a program of short films shot on 16mm from 2012-2016. Many of these works have developed from travel and explorations through rural and urban landscapes and function as odes to memories of experience. Some films are explorations of the relationship between time and the frame, between pacing and cut and of memory … Sound is an important component to these works as well. Rorison has composed many of the soundtracks with the use of field recordings, contact mics and lucid narrations made by her grandfather. One of her most recent films, Memory of August is an ode and portrait study of her 95 year old grandmother, Margaret Bennett, the widow of Harry Bennett who has been another strong influence in Rorison’s earlier work. Prior to filmmaking, Rorison worked primarily with painting and poetry and is interested in exploring these methods of language and thought through the medium of 16mm film.

“Rorison’s works frequently wander through empty or seemingly empty spaces. Her soundtracks—often consisting largely of electronic music on the drone/noise spectrum—often create a sense of warm alienation, coloring the films’ empty landscapes. Rorison’s films abound with “negative space” compositions—shots which frame a “nothing” (for example an empty sky, a wall, water) against borders of dark (shadows, bridges, walls)… this seems to suggest something of a turning away from the world of the social and a turn towards a state of introspection. These films relish solitude and alone-ness, and even while this solitude is sometimes tinged with dread or alienation, even as the filmmaker’s visions tend toward the apocalyptic, this solitude is asserted often as a source of strength.” — Steve Polta, Artistic Director, San Francisco Cinematheque

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Filed under: 16mm, 8mm, archival, artist in attendance, autobiography, documentary, essay, experimental, film, found footage, geography, hand-processing, landscape, literature, music, performance, place, poetry, social justice, sound, surveillance, travel, Uncategorized, video

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