November
18, Thursday, 7:30PM
Magic Lantern
Presents: “The Re-Enactment Show”
Curated
by Ben Russell from Providence, RI
Come
on down for a night of re-interpretations as we
plumb the depths of what experimental film has
to offer in the time-honored tradition of the
Re-Enactment. Not only do we have the Civil War,
but we’ve got Indian street kids in Bollywood
musicals, celluloid visions torn from the funny
pages, and remakes of cinema classics and avant-garde
masterpieces. - Ben Russell
Featuring: I’m
Bobby by Xav Leplae
(32:00, 35mm, 2003), Across the Rappanahock
by Brian Frye (10:00, 16mm, 2003),
Electrocute Your Stars by Marie
Losier (8:00, 16mm, 2004), Passage
a L’Acte by Martin Arnold
(12:00, 16mm, 1993), Mary Worth
by Various Directors (15:00, 16mm, 2001)
I’m
Bobby 32min, 35mm on video,
2003
Director: Xav Leplae
"I'm
Bobby serves up an unbidden but utterly
delightful détournement of the classic
Bollywood blockbuster Bobby (Raj Kapoor, 1973),
considered scandalous in its day (by puritan
national cinema standards) for an eroticised
treatment of its cross-caste teenage love
story. Filmed on location in India, I'm Bobby
shoehorns the original film's narrative into
a half-hour long contraption of exaggerated
zooms and bumpy edits, and recasts the adolescent
roles with adorably awkward pre-teens. Costumed
in oversized shades and uproarious wigs, the
kids lackadaisically mouth along with the
original film's dialogue and lyrics, in a
droll send-up of lip-synching conventions
in the Indian musical. Throughout, the child
actors alternate with crudely drawn paper-cutout
figures representing the same characters,
a device that generates surprising dramatic
tension in a climactic chase."
-Senses
of Cinema
Across
the Rappahannock 10min, 16mm,
2003
Director: Brian Frye
"On
December 12, 1863, General Ambrose Burnside's
Army of the Potomac engaged General Robert
E. Lee's Army of Northern Virginia in the
town of Fredericksburg, Virginia. Before Burnside's
army could enter the town, Union engineers
were forced to lay pontoon bridges across
the Rappahannock River under withering fire.
Close combat through the streets of Fredericksburg
and multiple assaults on the Confederate army
entrenched in the heights behind the town
resulted in heavy Federal casualties, which
forced an eventual withdrawal.
In November, 2001, I attended a small and
relatively informal reenactment of the battle
of Fredericksburg. About a hundred men and
women did their best to illustrate the actions
of the thousands of young men who offered
their lives a century earlier. An air of absurd
theater suffused the entire event, which provided
the ground for its peculiar truth. Everyone
played their part exceedingly honestly and
well, and left something on the film I was
myself surprised to find there."
Brian Frye
Electrocute
Your Stars 8min,16mm, 2004
Director: Marie Losier
A
psychedelic portrait of the lives and loves
of the master of absurdist rumination, George
Kuchar .
Passage
a L’Acte 12min, 16mm,
1993
Director: Martin Arnold
Given
context: a Hollywood text from the early sixties;
a family breakfast with husband, wife, son
and daughter.
Inscribed: a re-petition of what is diminished,
set apart and alien; a symptom.
Four people at the breakfast table, an American
family, locked in the beat of the cutting
table. The short, pulsating sequence at the
family table shows, in its original state,
a classic, deceptive harmony. Arnold deconstructs
this scenario of normality by destroying its
original continuity. It catches on the tinny
sounds and bizarre body movements of the subjects,
which, in reaction, become snagged on the
continuity. The message, which lies deep under
the surface of the family idyll, suppressed
or lost, is exposed -- that message is war.
"The first shock, the first flight, the
fear at the beginning of the film: The son
jumps up from the table and throws open the
door, which sticks in an Arnoldian loop of
hard, hammering rhythm. He is compelled to
return to the table by a mechanically repeated
paternal order, 'Sit down.' And at the end,
when the two children spring up, finally released
from their bondage, Arnold is again caught
at the door; at the infernally hammering door,
as if it were completely senseless to try
to leave here -- this location of childhood
and two-faced cinema." -- Stefan Grissemann
Mary
Worth 15min,
16mm, 2001
Various Directors
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