1:15 excerpt from the 7 minute, 2009, 16mm film
Film and Sound Design by Jennifer Reeves
8 super-8 film years condensed into 7 eye-popping minutes. A dreamer moves through landscapes to far seas -over tracks, winding roads, skies and waters- a journey of flight and fancy. The animals are watching and the chicks are chasing sunsets and dancing with sharks. A 98-year old grandmother named Gladys reflects on life, while a 38-year old director looks back on her own. Dedicated to my late grandmother and father.
poem in this excerpt written by Lisa Jarnot,
starring Lisa Jarnot
“An agoraphobic writer retreats into the presumed safety of her New York City apartment, to be confronted with psychic travails triggered by overheard conversations about suicide in a neighboring apartment, televised images of the American invasion of Iraq, memories of September 11, and thoughts and dreams of childhood experiences, travel adventures, and former lovers. […] Present-moment scenes are interlaced throughout the film with more lyrical passages, which represent the flights of fancy of the protagonist's internal world. Such moments are visually expressed by the filmmaker in more abstract fashion, through the use of dazzling images photographed on 16mm black-and-white film. The panoply of landmark experimental techniques, such as grainy and overexposed shots (photographed and optically manipulated by Reeves' own hands), imbue this film with a rich and varied texture. A brilliant feature debut, The Time We Killed garnered a FIPRESCI Prize at the 2004 Berlin Film Festival.”
–Jon Gartenberg, Tribeca Film Festival
3 min excerpt from the 8 minute, 2006, HDCAM/16mm video
Music by Anthony Burr
Symbols of 20th century science, industry, medicine and madness are mixed in rhythmic molecular forms, morphing frequencies and colorful visual textures. Educational films (depicting factory assembly lines, X-rays, scientific experiments, etc.) are sewn together with melted down pharmaceuticals affixed directly to the film, forming a concentrated fusion with pulsating electronic sounds, bass clarinet and organ. Century-old physical direct-on-film work converges with the latest HD format "destined to render film obsolete". Formats compete for dominance and resolve to coexist, perhaps in a fantasy world.
LIGHT WORK I sprung out of an immersive Expanded Cinema Performance created by collaborators Jennifer Reeves and musician Anthony Burr in 2006 for the Kill Your Timid Notion Festival (the original four-projector 16mm, four-channel music LIGHT WORK MOOD DISORDER). LIGHT WORK I uses uncompressed High Definition Video to record the process of making this longer direct-on-16mm-film work, and composites HD images of this physical process with the 16mm motion picture. The soundtrack is a layered mix of multi-tonal bass clarinet, organ, electronics and digital frequencies, creating a musical composition out of “real world” instruments and the invisible digital realm.
Light Work I is a Sparky Pictures, Inc. film
Produced with VOOM HD LAB
Executive Producer Ali Hossaini
Producer Lili Chin
Exhumed film from my very own landfill in Elkhart, Indiana constitute the canvas of my hand-painted LANDFILL 16. After finishing my double-projection WHEN IT WAS BLUE I was horrified by the bulk of outtakes that would normally go to a landfill. So I temporarily buried then painted the film to transform it. Within this colorful, pulsating, abstract “moving painting” I attempt to express my dread of man-made waste that endangers land and wildlife. This “recycling” is a meditation on the demise of the beautiful 16mm medium and nature’s losing battle to decompose relics of our abandoned technologies.
For the soundtrack, I combined recognizable sounds, from bulldozers to nature audio, with more abstracted textural and rhythmic sounds I created using audio from consumer-goods-creating factories, old 16mm equipment, the cries of a dying bird stuck in my wall, and other oddities.