Make Haste, Slowly
(based on the prose of Virginia Woolf's To The Lighthouse)

stills from Make Haste, Slowly; materials and iterations: digital beta tape (culled from window dub) still scan of 16mm hand-inked/finger-printed/scratched/etc./digitally re-photographed inter-negative print;
also exist as digital c-prints ©2005 Elizabeth Block

a (mostly) hand-made film
16mm, 6 minutes, color, silent
2004


www.canyoncinema.com
This film is best viewed as a 16mm film.

DVD rental: contact the filmmaker

“Spectacular cinematic treat".

“Block presents a visual poem of text, color and light. Drawings on clear film leader are exposed to light and re-photographed as digital pixels that are then projected backwards. This moving collage is both lyrical and disconcerting.”
—8th Madcat International Women’s Film Festival

Exhibition venues include:
-8th Madcat International Women's Film Festival United States Tour: The Experimentalists, curated by Ariella Ben-Dov
(i.e., Harvard University Film Archive, Anthology Film Archives-Mix Film Festival, Squeaky Wheel, University of Wisconsin-Milwaukee, NYU, Pratt Institute, etc.)
-San Francisco Cinematheque/Yerba Buena Center for the Arts
-California College of the Arts
-Santa Fe Art Institute
-Museum of Contemporary Art|Denver
-The Exploratorium Museum of Science, Art, and Human Perception
-Artist's Television Access

 

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Strewnpackedcinderwhateverlight

 

a 16mm poem-film
(2003)

16mm distribution: Canyon Cinema
www.canyoncinema.com
This film is best viewed as a 16mm film; it may also be projected on an analyzer projector for slow motion viewing.

DVD rental: contact the filmmaker

16mm, 9 1/2 minutes, color, black and white, sound, re-photography of 16mm projection, re-photography of digital video/video projection

Producers: Elizabeth Block and Evri Kwong
Director/Writer: Elizabeth Block
Cinematographer: Elizabeth Block
Editor: Elizabeth Block
Composer: Warren Burt
Location Manager/Crew: Clayton James (Skip) Gianocca

I find William Faulkner's novel, Light in August, which I haven't read since my dreaded high school years. I re-interpret the novel into what I perceive to be a dyslexic language poem, and I fiddle with the idea of un-translation (an un-adaptation) into film. Falling for celluloid in a digital era has left me feeling somewhat out of order. I am unhinged by an awareness that film is not entirely fossil, yet is increasingly eclipsed by its son, bit stream. I romance Bolex landscape and abstract cinematography and black and white re-photography of color film projection, traditional photochemical process, and photogram film. Yet I also re-photograph digital re-cinematography of projected 16mm film. At first glance, a viewer may not be able to distinguish between fiber optic re-photography and pure chemical light emulsion. I deliberately edit the film to punctuate different light properties, yet blur the distinction between pure celluloid and celluloid tainted with digital video projection. Even as digital video succeeds at replacing celluloid, I am interested in dyslexifying and displacing the digital video projection from its historical development after celluloid, as its own dis-evolution of technology. Featuring a digital sound composition by Melbourne, Australia based, Warren Burt. (Elizabeth Block)

An artist residency at Djerassi Resident Artists Program helped to make this film possible.

Exhibition venues include:
-Anthology Film Archives
-Film Arts Foundation/San Francisco Cinematheque-Ninth Street Center for Independent Media
-Athens International Film and Video Festival competition film selection
-Antimatter Film Festival official selection
-California College of the Arts
-Itinerant Cinemascape U.S. Tour, curated by Marijke Jorritsma
(i.e., Echo Park Film Center, San Francisco Art Institute, University of Arizona, Guild Cinema, California State University, Chico, Artist's Television Access, etc.)

 

Please check in detailed narrative Bio for more information about other film projects.