Category Archives: Alfred Eaker’s Fringe Cinema

CATHERINE CROUCH: BREAKING THE GENDER BARRIER THROUGH FILM

“Alfred Eaker’s Fringe Cinema” is a column published on Thursdays covering truly independent cinema: the stuff that’s so far under the public radar it may as well be underground.  The folks making these films may be starving artists today, but they may be recognized as geniuses tomorrow.  We hope to look like geniuses ourselves by being the first to cover them.

gendercatorDuring the 2007 San Francisco Frameline Film Festival, filmmaker Catherine Crouch’s short The Gendercator was accepted, then removed from the festival due to a protest, consisting of 130 signatures which claimed that the film was transphobic.  6 of the 130 protesters had actually seen the film.  This was the first time in the festival’s history that a film had been accepted and then withdrawn.

Judgment is best reserved until after seeing the film,and after doing so, it is blatantly apparent that this was a case of paranoid and shamefully militant censorship, no different than McCarthy era blackballing.  The liberal arts community rightfully protested (albeit meekly) when the Bush administration had the replica of “Guernica” covered at the U.N., yet the San Francisco Frameline Film Festival has shown it is fully capable of resorting to the same level of despicable tactics.  Worse, it’s claims to do so, in light of “sensitivity”, is made even more ironic since an overwhelming and elegiac “sensitivity” flows through every single one of Crouch’s films, Gendercator included.

The Gendercator is a charming Rip Van Winkle inspired fantasy short about a lesbian who falls asleep under a tree in the 1970’s’, only to re-awake in the year 2048.  In this future, stern binary laws are militantly enforced and the heroine is scheduled for a date with the Continue reading CATHERINE CROUCH: BREAKING THE GENDER BARRIER THROUGH FILM

DAMON ZEX’S CHECKMATE

This review is a follow-up to last week’s “Fringe Cinema” column on Damon Zex.  Read last week’s column here.

Along with Yoga, Damon Zex’s other passion is chess.  He had begun playing the game at the age of five and renounced it after winning a state championship years later.  After emerging from a creative hiatus, Zex returned with his 27 minute film Checkmate.

Checkmate represents a return on many faceted levels.  Zex labored long on Checkmate and that labor paid off brilliantly.  Checkmate is Damon Zex’s diaphanous train wreck that one simply cannot look or turn away from.  It is horrifying, perversely amusing, unbearably intense, highly contrarian, and Damon Zex at his most quintessentially bizarre.  Even knowing Zex’s previous work will not prepare the viewer for for this, despite it’s being that seemingly inevitable bookend to what came before.

When making Checkmate Zex knew fully well that he risked propelling even his most ardent admirers into that incessant squirming, uncomfortable plateau.  But then, Damon Zex is hardly one to rest on laurels, nor is he one to cave into conservative, expectant formulas to appease a fan base.  The Checkmate that emerged after Zex’s self-imposed silence is the equivalent of an artist clearing out his own mothballs.


The first 2:50 of Checkmate

Everyone involved with Checkmate knew Zex was onto something special and different, even though a videographer friend, frustrated with the film’s static qualities, wanted to change it and chastised the artist for breaking the “101 basic cinematic principles.”  Indeed, Damon Zex is breaking even his own orthodoxy in Checkmate, but with an overwhelming sense of clarity.  The long, sustained enveloping pauses are sharply cut with richly complex compositions which could almost be described as inducing cubist headaches.

The bulk of Checkmate is juxtaposed to Mahler’s 9th Symphony, and Zex is one of those artists determined to take Mahler back from the music fundamentalist who have claimed the composer as solely their own.  Alban Berg proclaimed the first movement of the Mahler 9th as the greatest in all of music.  Arnold Schoenberg gave an impassioned

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DAMON ZEX: INTELLECTUAL PROVOCATEUR‏

“Alfred Eaker’s Fringe Cinema” is a column published on Thursdays covering truly independent cinema: the stuff that’s so far under the public radar it may as well be underground.  The folks making these films may be starving artists today, but they may be recognized as geniuses tomorrow.  We hope to look like geniuses ourselves by being the first to cover them.

While there might still be quality, dramatic television, there is little doubt the medium has lost it’s imaginative powers and any penchant for innovative, experimental, provocative, quirky aesthetics. Ernie Kovacs and Andy Kauffman are long dead. In addition to Kauffman, the 80’s did see Pee Wee’s Playhouse and Bakshi’s “New Adventures of Mighty Mouse”, but they have been relegated to distant memories. Then, in the 1990’s came Damon Zex; the underground cult icon from Columbus, Ohio’s short-lived public access television.

One writer speculated that Charlie Chaplin was nearly the sole silent super star to have survived sound because he alone understood it was a different art form. There is a reason that Chaplin, Keaton, Harry Langdon, Charlie Bowers, Theda Bara, etc. were inspirational fodder to later surrealist luminaries such as Samuel Beckett and Andre Breton. Those provocateurs understood and connected with elements from the silent art form which had it’s origins in vaudeville and can be seen in today’s performance artists such as Diamanda Galas and Damon Zex.

Much in early film, by today’s standard, was experimental because the rules had not yet been set as to what constituted ‘film’ and what did not. Luis Buñuel once said, “Moving pictures merely repeat what we have been told for centuries by novels and plays. Thus, a marvelous instrument for the expression of poetry and dreams (the subconscious world) is reduced to the role of simple REPEATER of stories expressed by other art forms.”

Damon Zex’s “Asana Assassin” (discussed below)

In lieu of today’s obsession for squeaky clean, hypernarrative Hollywood realism, reactions to expressionism, experiment, rough improvisation range from red flag dismissals such as “artsy” and “pretentious” to downright hostility. Audiences can numbly sit through porn fests such as Hostel or Passion of the Christ, but will react quite differently when aesthetically provoked.

Author Scott MacDonald nails it in his introduction to avant-garde film studies:

Mainstream cinema is so fundamental a part of our public and private experiences, that even when filmmakers produce and exhibit alternative cinematic forms, that dominant cinema is implied by the alternatives. If one considers what has come to be called avant-garde film from the point of view of the audience, one confronts an obvious fact. No one–or certainly, almost no one–sees avant garde films without first having seen mass-market commercial films. In fact, by the time most people see their first avant-garde film, they have already seen hundreds of films in commercial theaters, and their sense of what a movie IS has been almost indelibly imprinted in their conscious and unconscious minds by their training as children and by the continual reconfirmation of this training during adolescence and adulthood. The earliest most people come in contact with an avant-garde film of any type is probably mid to late teens (for many people the experience comes later, if at all). The result is that whatever particular manipulations of imagery, sound, and time define these first avant-garde film experiences as alternatives to the commercial cinema are recognizable only because of the conventionalized context viewers have already developed. Generally, the first response generated by an avant-garde film is, ‘This isn’t a movie,’ or the more combative, ‘ You call this a movie?’  Even the rare, responsive viewer almost inevitably finds the film–whatever its actual length in minutes–‘too long .’  By the time we see our first avant-garde film we think we know what movies are, we recognize what ‘ everyone’ agrees they should be; and we see the new cinematic failures-to-conform as presumptuous refusals to use the cinematic space (theater, VCR, viewing room) ‘correctly.’ If we look carefully at this response, however, we recognize that the obvious anger and frustration are a function of the fact that those films confront us with the necessity of redefining an experience we were sure we understood. We may feel we KNOW that these avant-garde films are not movies, but what are they? We see them in a theater; they’re projected by movie projectors,just as conventional movies are… we can see that they ARE movies, even if we KNOW they’re not. The experience provides us with the opportunity to come to a clearer, more complete understanding of what the cinematic experience actually can be, and what–for all the pleasure and inspiration it may give us–the conventional movie experience is NOT.

Elitism in artistic taste has become a dirty word and frequently one hears the
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FRINGE CINEMA: “GOD IS AN UNDERACHIEVER”: EVOKING GUERNICA

“Alfred Eaker’s Fringe Cinema” is an irregularly published column covering truly independent cinema: the stuff that’s so far under the public radar it may as well be underground.  The folks making these films may be starving artists today, but they may be recognized as geniuses tomorrow.  We hope to look like geniuses ourselves by being the first to cover them.

DJ Monkey is an L.A. band, headed by Joey Alkes and Mick McMains, on the Squid Music label.  The band’s first album from 2004 was “Another Evolution” which produced the web hit music video/short film “U-Boat” and garnered a plethora of excellent reviews.

With DJ Monkey’s second album, “3rd World War,” Joey Alkes turned to Dennis Schraub to create a music video/short film for the band’s song “God is an Underachiever.”  Schraub and Alkes created two edits of the short film and choosing between them would be as unwelcome a task as choosing between Coltrane’s two edits of “Ascension”.  The comparison is apt.  “God is an Underachiever” is as difficult, moving and inspiring in it’s right as the much written about late Coltrane.
Schraub and Alkes refer to the film as being inspired by “Guernica”.  The second edit of the film was the one officially released, as the first was deemed too disturbing.  It is this second edit that is available on the Squid Music website and youtube.

God Is an Underachiever (second edit).  WARNING: Contains strong images of man’s inhumanity to man.

“Warning: This video was specifically made to create controversy! Not controversy for controversy sake, nor for promotional shock value, but as a plea for all of us to take responsibility, as representatives of our maker, for the mess we’ve all made of this planet! GOD IS AN UNDERACHIEVER is meant to spark dialogue and not point a finger!! Pay close attention to the line in the 1st chorus that says, “but I am still a believer.”–Squid Music

With the short film, “God is an Underachiever” appropriately becomes a 21st century multi-media collage work, as the film is as vital and as potent as the song itself.

Excerpts from the lyrics and a warning accompanying the video are poignant clues to the nature of the film.

“God is an underachiever, I guess he has to be.  God is an underachiever, but I’m still a believer.” 

“Seems like we no longer can hear very well… the mutation of the spirit.  Joan of Arc was burned at the stake… and some people thought Darwin a fool… God took him to a better place where the water had a better taste… when I die, it should be a special day….”

In his third symphony, “Kaddish” (written as an angry response to the murder of friend Continue reading FRINGE CINEMA: “GOD IS AN UNDERACHIEVER”: EVOKING GUERNICA

FRINGE CINEMA: JAKOB BILINSKI, BECOMING A MASTER OF HIS MEDIUM

“Alfred Eaker’s Fringe Cinema” is an irregularly published column covering truly independent cinema: the stuff that’s so far under the public radar it may as well be underground.  The folks making these films may be starving artists today, but they may be recognized as geniuses tomorrow.  We hope to look like geniuses ourselves by being the first to cover them.

Producer/Director/Writer Jakob Bilinski and his Cinephreak Pictures have released three of Bilinski’s films to date, including the recently completed Shade of Grey (2009) (being taken to film festivals now).

Bilinski is a director’s director who has an obvious love for and mastery of the medium.  On the surface, Mime (2005), Foxxy Madonna vs. the Black Death (2007) and the previously mentioned Shade would seem to have little in common, but watching the three works consecutively is a rewarding experience in the best of independent cinema, in ways mainstream Hollywood Cinema simply can’t be and, frankly, is too clueless to be.

Bilinski tackles different genres in each of the three films, but all are replete with the director’s personal touches, shared, underlining, flowing themes, and the beauty of an artistic and fiercely independent struggle that can only be achieved without a tinsel town, silver platter budget handed via a blank check.

A lot of independent filmmakers fall too easily into the trap of flexing worn on the sleeve, extrovert aesthetics, which scream “resume for a Hollywood deal,” in favor of originality.  Adhering to the tried and true formula trumps personality as much in indie fare as it does in the mainstream, but not so with Bilinski.  While his enthusiasm for the craft is apparent from the outset, he never allows a desire for display of that craft to blur individuality.

mimeMime is the first film Bilinski released and it’s a broad comedy which stems from the Theater of the Absurd.  It starts like an arch typical indie slasher film.  Couples are making out in a park at night and the grainy camera work here is a quirky homage to every cheesy B grade horror opening we’ve been subjected to.  The protagonist Mime Binky (Joe Grace) stalks his victim (Bryan McKinley) and mercilessly commits a horrendous

Continue reading FRINGE CINEMA: JAKOB BILINSKI, BECOMING A MASTER OF HIS MEDIUM