Boston, MA
Bright - Paramount
TIE at the Paramount Center
Tue, October 09, 2012 at 7:00PM (Eastern)
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TIE presents its second annual show at the Paramount Center's Bright Family Screening Room. 

One of TIE's central concerns is with the dissolution of boundaries as a productive artistic practice. We explore this in terms of cross-cultural communication, in our stance toward historicity in film, in our openness toward and engagement with the public, and in our emphasis on the materiality of the medium of film—a materiality that can be said to be at the boundary of representation. The following program of contemporary 16mm films helps to form such a vision:

Under the Shadow of Marcus Mountain [Robert Schaller]
(2011, USA, 16mm, 6 minutes) With Under the Shadow of Marcus Mountain, Robert Schaller continues looking at landscape and affixing its indexical image to emulsion employing original photographic techniques. Schaller's stripped down 16mm filmmaking is the epitome of independent cinema; he uses manual processing, custom-made emulsions and chemicals and shoots with pinhole cameras and other handmade devices. The resulting images are simultaneously immediate, ephemeral and timeless.
A Life's Work [Adam Levine]
(2011, USA, 16mm, 17 minutes) D.J. Blanton is a retired power company worker living in rural Indiana. In the fifteen years since leaving the job he hated, D.J. has thrown himself headlong into his practice as a blacksmith, building thousands of ironwork pieces in his home shop. A Life’s Work considers the intersection of art and life—the curiosities we are born with and the legacies we leave behind.
Passage Upon the Plume [Fern Silva]
(2011, USA, 16mm, 7 minutes) “Those who go thither, they return not again.”
"Plumes dust the arid land, east to west, shapeshifting as they lift in ascension. Something lowers. An ark ran aground where revolution took root: ropes raise stones in baskets. Hearts heavier and lighter than the feather, permitted passage. Tethered or freed, resting from life or dawning anew." — Charity Coleman
The Home and the World [Lucy Parker]
(2011, UK, 16mm, 19 minutes)
Parker filmed the rural care facility pictured in this film over the duration of nine months. She returned to the place every two weeks, documenting the ways in which routines in weekly life are focused on nurture and development, through both educational lessons and leisure time. The Home and the World considers the shifts between freedom and structure that exist in this environment, while also documenting the landscape, changes in weather and the qualities of indoor and outdoor space.
Jake Seven [Mary Beth Reed]
(2012, USA, 16mm, 4 minutes)
"A few lingering brush-flicks, olive-drops of color splitting open on the vines… the roulette ball of our random lives dropped into the basket on some universal wheel… and the road keeps winding out before him like a wick”—exerpts from Steve Gehrke’s poem “Jackson Pollock Driving.” Jake Seven reflects on the death of the two jakes—my dad and our furry homage to his nickname—mixed with musings on abstract art and ephemerality."
Not Clear Cut [Paul Turano]
(2012, USA, 16mm, 8 minutes) A small instance of collateral damage from the recent financial crisis, Not Clear Cut portrays the challenging decision my parents made to harvest 40 acres of 70+ year-old hardwood trees as an attempt to make up for money lost. An afternoon was spent surveying the aftermath in their backwoods in rural southeastern Connecticut, and talking to my father about the repercussions of destroying a wilderness area we had hoped to preserve from such a calamity. The poetic visual and auditory approach is one of empathy (for the trees and my parents), resentment, remorse, and a sense of irrevocable loss.
106 River Road [Josh Weissbach]
(2011, USA, 16mm, 6 minutes) 106 River Road connects the recorded document to the generated artifact, which move together upon a two-way timeline between the literal and the abstract.
Our Summer Made Her Light Escape [Sasha Waters Freyer]
(2012, USA, 16mm, 5 minutes) A wordless, 16mm portrait of interiority, maternal ambivalence and the passage of time.  Sobful to the speaking beings, there is a breeding fever burnout, ou presque.
Ritournelle [Christopher Becks]
(2012, Germany, 16mm, 4 minutes) With Ritournelle, Peter Miller and Christopher Becks have fashioned a miniature gem from a 16mm corps exquis exercise and an experiment in inside-out filmmaking, which began with a surreptitiously prestruck soundtrack. - Andrea Picard
Awe Shocks [Anja Dornieden & Juan David Gonzalez Monroy]
(2011, Germany, 16mm, 3 minutes) An instructional film detailing the manufacture process of a whole new consumer product, as well as its many uses, applications, and social benefits.

Fire in the Fireplace [Adam Paradis]
(2012, USA, 16mm, 12 minutes) *Premier* Anarchy, robots, Cat Stevens and job related trauma. A power struggle at hand and what we face when our history catches up with us.
Orpheus (outakes) [Mary Helena Clark]
(2012, USA, 16mm, 6 minutes) Using footage from Cocteau's Orphée, Mary Helena Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.

TIE curator, Christopher May, will be in person to introduce the program and answer questions. 
Admission to this screening is FREE and open to the public. Registration is strongly suggested to secure seating. 

Contact TIE: (503) 298-4984
Click here to view the Press Release.
Click here to view our program at Montserrat College of Art  on October 11th. 
Visit TIE on the web at Click here to learn more about us. 
To submit a film to TIE, click here for a downloadable submission form. 
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Laura Appleton
Ethan Berry
Becky Bidwell-Hanson
Nicolas Brynolfson
Peter Chin
Owen Cole
Ellen Conway
Sean Cummings
Mick Cusimano
Paul Hanson
Jenny Jen
Kai Yu Jen
Karen Katz
Veronique Kihumbu Keng
Mary Louis
Bo Lowney
Michelle Lynds
Maureen Mahoney
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Yusuf Nasrullah
Aminata Ndiaye
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Victor Rodriguez
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