May 19, 2017, 8:30p
Kino Klub Split
Ulica Slobode 28
Projection: James Fotopoulos – Migrating Forms (1999)
On Friday, May 19, at 8.30 pm, you can attend the screening of the filmmaker Migrating Forms (1999), an independent American director of experimental low-budget projects (film avant-garde classic period) James Fotopoulos. “If I could choose, I’d be doing this job at times of silent film. Then everything was new. The basic technique I used is modern technology. The author could at the same time be an innovator, and record hundreds of movies in the middle of the desert,” James Fotopoulos said in a conversation. So far, he has recorded over one hundred movies. The projections on Friday at the Cinema Club are of educational character, organized for members and anyone who wants to attend. The entrance is free, everyone is welcome …
James Fotopoulos (1976; Norridge, Illinois, USA) studied film directing at Columbia College in Chicago as an extraordinary student, and after the first few semesters he canceled formal education and devoted himself to direct film production on the line of classic American handcraft avant-gardists like Stan Brakhage, Malcolm Le Grice and Kurt Kren. His works, thanks primarily to the applicator’s authorship and intriguing low-cost productions, have been noted at renowned film festivals such as the International Film Festival in Rotterdam, the New York Underground Film Festival and the Sundance Channel, and have also been found on programs of respectable cultural institutions such as The Walker Art Center in Minneapolis (where he was still a 20-year-old proclaimed the artist of the year), and the Andy Warhol Museum in Pittsburgh. James Fotopoulos films contemplate contemporary aesthetic and existential affections in the context of widespread art practices (also imposed as a multimedia author and an extraordinarily gifted artist). His film style is characterized by unique montage hybrids of elemental contemplative frames typical of the classic avant-garde concept of artistic film, and the scenographic effect of the so-called body horror (biological, i.e. organic or more precise – visceral model of graphic degeneration of the physical body). Because of the allusion to decomposition, toxicity – contamination, parasitism, mutations, and mutilations – it is a part of criticism that he is also desirable to characterize as a kind of film pathologist with certain psychopathic tendencies in the treatment of filmmaking. Ed Halter, an American expert for the so-called new independent production of Fotopoulos sees a kind of incarnation of the opulent Austrian – American author Edgar George Ulmer (1904 – 1972) best known in co – operation with Friedrich Wilhelm Murnau during his Hollywood epic episode of the late twenties of the last century. Fotopoulos, for his part, contributes to such a vision of his cinema, since he has been carefully selected from the very beginning of his career the halls where his films will be screened, and tries to remove digital copies from Internet addresses. “If I could choose, I’d be doing this job at times of silent film. Then everything was new. The basic technique I used is modern technology. The author could at the same time be an innovator, and record hundreds of movies in the middle of the desert,” he said in a long-standing interview with Strausmedia’s internet portal. James Fotopoulos has so far recorded over one hundred films.
Migrating Forms (1999), a film winner of the New York Underground Film Festival in 2000, master’s minimalist exploration of empty sexuality, and its ubiquitous, material physical and psychological consequence of fluid. The impersonal, almost empty room, a man and a woman (almost anonymous Preston Baty and Rebecca Lewis) are caught “in flagrante” naturalistic understated film camera signed by early Fotopoulos’ associate John Wagner. Malignant perforation on the woman’s back infects the man, but the consequences of the infection (as well as the general description of character actors intercourse) remain inaccessible to the viewers. Migrating Forms recorded during week two years after Fotopoulos’ debut Zero (1997) which is in two and a half time interval treats internal and external perception of the world of a sociopathic wanderer who in his daily discomfort consistently blames the Jews, blacks and women. One might say that, in contrast to the total sexual and thanatological determinant anti-hero of the film Zero (played by the now-forgotten Matthew Buckley), Migrating Forms is a kind of parallel film dispersion of the identical diffuse atmosphere of “Psychopathia Sexualis” in effect Fotopoulos’ “overhead condenser” film interior. Treatment of sound for which is credited to the director represents a specific need to empty nonsensical dialogues and pushed to fade out plan in favor of claustrophobic, almost paranoid atmospheric pressure that cause, for example, canine feet on the parquet flooring and the like. Migrating Forms, following all of the above, just hypnotic cinematic experience, and, in the psychological sense, above all relevant sort of summation of the new avant-garde tendencies of American independent cinema royalties.
Duration: 89 minutes
Technique: black and white