Jeremy Moss: Space Material/Immaterial Place

Jeremy Moss: Space Material/Immaterial Place
*Filmmaker In Person*
Wednesday, January 7th at 7pm
Kairos West, 742 Haywood Road, West Asheville
$5 suggested donation (no one turned away)

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This event is co-sponsored with The Media Arts Project.

Filmmaker Jeremy Moss, whose work has screened around the globe, brings a 60-minute program of recent moving image work to Asheville. In the summer of 2011, Moss began expanding beyond his narrative training to fully explore expressionistic structural tendencies and its application to place and the moving body. As a program, these works cohesively embody an immersive optical and sonic experience reveling in cinema’s capacity for both meditative expression and the rigors of formal experimentation.

ABOUT JEREMY MOSS:
Based in Pennsylvania, Jeremy Moss works in both 16mm and digital video. His films and videos explore and interrogate bodies, identities, and places shaped by rigid boundaries and porous peripheries; his camera design often emulating such strict cultural and physical structures. Moss’ films have exhibited widely at festivals and venues throughout the globe, including Jihlava International Documentary Film Festival, Edinburgh International, Chicago Underground, Brooklyn, Crossroads, Cinequest, Athens, Maryland, and Anthology Film Archive in New York. He teaches production, history, and theory at Franklin & Marshall College in Lancaster, Pennsylvania.

THE PROGRAM:

THE BLUE RECORD
16:38 | 16mm digital video | color| sound | 2013

Combining hand-processed 16mm imagery, a deconstructed lyric essay, and an ambient score by composer Vicki Brown, The Blue Record meditates on the pastime of ruin-gazing and its application across a wide range of aesthetic experiences. Informed in part by the work of Alain Resnais, Walter Benjamin, and the Romantic poets, The Blue Record is a collaborative study of what happens when the process of decay is arrested and ruins become commercial entities. Shot on location at Eastern State Penitentiary in Philadelphia, the film is at once an immersive and Brechtian examination of the experience of destruction as an aesthetic pleasure.

(UN)TETHERED
9:34 | digital video | color | sound | 2014
Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide. Suddenly unhinged, the figure unravels and weaves freely, abandoning all formal containments. Featuring original choreography by Pamela Vail and an original score by Jonathan Pfeffer.

THOSE INESCAPABLE SLIVERS OF CELLULOID
6:45 | super8 to digital video | color | sound | 2011
Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush, circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to moving image.

CHROMA
3:26 | digital video | color | silent | 2012
A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.

CICATRIX
6:48 | 16mm to digital video | color | sound | 2014
A textural experience in layers, scars, and deterioration that combines hand processed, tinted, and toned 16mm imagery with an original sonic score by Jonathan Pfeffer. Both sight and sound ooze and emulate those tangible tremors catalyzed by increasing awareness of loss and decay. Initially created at the Independent Imaging Retreat (Film Farm) in July 2012.

THAT DIZZYING CREST
10:37 | 16mm to digital video | color/b&w | sound | 2013
Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.

THE SIGHT
4:09 | 16mm to digital video | color/b&w | sound | 2012
A song of creation: immaterial space spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Created at the Independent Imaging Retreat, the landscape is seen anew by 16mm hand-manipulation giving rise to a geometry of trees and meadows; the sonic score is subjected to similar direct manipulation.


Open Screening

OPEN SCREENING
Tuesday, December 16 at 8PM
BeBe Theatre, 20 Commerce St., Downtown Asheville
FREE

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Calling all Asheville makers… the screen is yours! Share your work with a live audience! Maximum length is 10 minutes. Any genre! Any style! It can be old, new, or a work-in-progress. We want to see it.

Formats accepted: DVD, QuickTime or MPEG file, 16mm, and Super 8

 Submit work early by email: yayforfilm@gmail.com or just show up with your piece and we’ll watch it together. First come, first served, as time allows.

 There will be short discussion after each piece with a chance to gather feedback from the audience.


Our Nixon

Tuesday, November 18 at 8pm
BeBe Theatre, 20 Commerce St., Asheville
$5 suggested donation (no one turned away)

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Our Nixon (2013, 84 min.)
Dir. Penny Lane

OUR NIXON is an all-archival documentary consisting of Super 8 home movies filmed by three of Nixon’s top White House aides who obsessively documented their experiences from 1969 -1973. Young, idealistic and dedicated, they had no idea that a few years later they’d all be in prison.

This unique and personal visual record was seized by the FBI during the Watergate investigation, then filed away at the National Archives, and forgotten for almost 40 years. OUR NIXON presents these home movies for the first time, along with other rare footage, creating an intimate and complex portrait of the Nixon presidency as never seen before.

The footage consists of over 500 reels of home movies capturing big events such as the Apollo moon landing, historic anti-war protests, and Nixon’s world-changing trip to China. They also filmed each other and everyday life.

They filmed to have something to show their grandchildren. They filmed because they thought that Nixon’s presidency would change the world forever. The tragedy is that they were right.


For Shadows and We’re Okay

Tuesday, October 21 at 8pm
BeBe Theatre, 20 Commerce St., Avl
$5 suggested donation (no one turned away)

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Join Mechanical Eye in collaboration with the Asheville Radical Mental Health Collective for a screening of two exceptional films exploring themes of family, self-harm, and healing:

We’re Okay
Dir. Kira Bursky (2014, 17 min.)

For Shadows
Dir. Ken Paul Rosenthal (26 min.)

We’re Okay is a powerful fantasy drama about teen depression and sexuality directed by local Asheville filmmaker Kira Bursky. Delilah has decided to kill herself on her 18th birthday, but her friend Lena surprises her with a birthday party. We see how Delilah is truly feeling in her stop motion animated circus world mind.

For Shadows is a contemplative, multi-layered memoir that explores the process of coming to terms with one’s shadow while unraveling the tangled roots of self-harm. The home movies of a child’s formative years and an interior landscape of traumatic domestic memories are excavated and re-constructed alongside sound clips from archival mental hygiene film.

Check out the For Shadows trailer:

This screening is part of ARMHC’s event Mad Gifts, Saving Graces, and Works in Progress: An exploration of creativity and madness (http://ashevilleradicalmentalhealth.net/)


Boom: The Sound of Eviction

Tuesday, September 16 at 8pm
BeBe Theatre, 2o Commerce Street, Avl
$5 suggested donation (no one turned away)

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Boom: The Sound of Eviction (2001, 97 min., video)
Dirs: Francine Cavanaugh, Adams Wood, A. Mark Liiv, and Jeff Taylor

Filmmaker Adams Wood in person to introduce the film!

Both humorous and scathing, Boom delves into the ironies and contradictions of the “New Economy” that ushered in the first dot-com boom during late ‘90s in San Francisco. Focusing on the housing crunch, which displaced record numbers of working-class families, nonprofits, and artists; Boom delivers an ambitious social critique while telling stories of individuals displaced by a rapidly changing city. With perspectives from all sides of the issue, Boom! captures San Francisco at the peak of that momentous time. Featured are interviews with dot-com workers, real estate developers, and San Francisco Mayor Willie Brown, as well as those who challenged the new economic order through community organizing, electoral politics, and direct action.

This documentary is just as relevant in 2014 as San Francisco faces another upheaval of gentrification during the second dot-com boom – evictions are up, rents are outrageous, and people are being forced to leave the area. There are lessons to be learned from San Francisco as Asheville undergoes its own wave of change due to an economic boom. Driven by different factors, these waves of gentrification could result in similar outcomes – a city unrecognizable to its working class and long-time residents. How does a city keeps its character and remain an affordable place for everyone, not just the affluent? We hope this screening will fuel some dialog around these complicated issues.

 About the filmmakers:

FRANCINE CAVANAUGH and ADAMS WOOD are a husband-and-wife filmmaking team who moved to Asheville, NC from the San Francisco Bay Area in 2002. Their film ON COAL RIVER (2010), premiered at AFI/Silverdocs, screened at festivals around the world and won awards including Best Documentary at the Appalachian Film Festival, and an IFP/Gotham Award nomination. Adams began making documentaries in the Idaho wilderness in 1996, and Francine found her way to film through theater and dance in 1999. They are currently working on their third feature.

 


Cul de Sac: A Suburban War Story

Tuesday, August 19th at 8pm
BeBe Theatre, 20 Commerce St., Asheville
$5 suggested donation (no one turned away for lack of funds)

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Cul de Sac: A Suburban War Story (2011, 57 min., video)
Dir. Garrett Scott

In May 1995, Shawn Nelson, a 35-year-old plumber from Clairemont, California, emerged from an eighteen foot mine shaft he had dug beneath his backyard in search for gold. An ex-soldier and methamphetamine abuser, he stole a tank from a nearby National Guard armory and went on a rampage through the residential streets of his neighborhood, crushing cars and lampposts until the cops took him down.

A portrait of a San Diego suburb built on a booming post-WWII defense industry and its subsequent bust, the ravages of methamphetamine use, and how these histories come together in one tragic and unbelievable instance. CUL DE SAC provides extensive political, economic, and social context to this seemingly minor news story that ties Nelson’s life to the larger story of a working class community in decline.

“Truly extraordinary… a chilling X-ray of the despair in poor white suburbia. The film ambitiously frames its psychological autopsy and class analysis within the historical context of Southern California’s aerospace industry-fueled development and decline.” —The Independent Film & Video Monthly

This screening is courtesy of Icarus Films.

 


Home Is A Memory

Tuesday, July 15th at 8pm
BeBe Theatre, 20 Commerce St., Asheville

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Home is a Memory: Films by Lisa Danker and Georg Koszulinski

Exploring the idea of home and immigration from personal perspectives, these two video essays about Florida and family touch the heart of what it means to be from somewhere.

Que Se Acuerdes De Mi /Please Remember Me  (2011, 19 min)
Dir. Lisa Danker
This personal documentary is about Javier Navarrete, arrested in Cuba as a political prisoner in 1962 and who remained in prison for 18 years, told by his granddaughter, the filmmaker. Javier’s letters from prison to his exiled family in Miami are read over contemplative, carefully composed images of present-day Miami. Interviews with family members explore the hardships of exile in Miami; recreations of old photographs raise questions about the impact of permanent uprooting and of Javier’s extended absence from the family.

Last Stop, Flamingo (2014, 55 min)
Dir. Georg Koszulinski
The third installment of Georg Koszulinski’s Florida trilogy, Last Stop, Flamingo explores early visions of Florida, from the early 20th-century Koreshan utopian community, founded by Cyrus Teed in the swamplands of Florida, to the world’s largest planned subdivision—Golden Gate Estates—which projected a population of over 400,000 residents. Imagined landscapes give way to mythological creatures, from the Florida Skunk Ape to the mermaids who perform daily at Weeki Wachi Springs. Exactly 500 years after Ponce de Leon’s European discovery of Florida, Last Stop, Flamingo reflects on the many ways in which Florida’s landscapes have been irreversibly shaped by human desires.  This documentary was awarded the Best Documentary Feature prize at the U.S. Super 8 Film & Digital Video Festival.

 

 

 


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