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FILM CULTURE IM.46 Autumn 1967 (published - belatedly - October 1968) $1 FILM CULTURE NINTH INDEPENDENT FILM AWARD To point out original contributions to the cinema, FILM CULTURE is awarding its Ninth Independent Film Award (forthe year 1967) to MICHAEL SNOW for his film WAVELENGTH (Past Independent Film Awards: SHADOWS, Cassavetes, 1959; PULL MY DAISY, Frank-Leslie, 1960; PRIMARY, Leacock-Maysles, 1961; THE DEAD and PRELUDE, Brakhage, 1962; FLAMING CREATURES, Jack Smith, 1963;SLEEP, HAIRCUT, EAT, KISS and EMPIRE, Warhol, 1964; HEAVEN AND EARTH MAGIC FEATURE and EARLY ABSTRACTIONS, Harry Smith, 1965; Gregory Markopoulos, for his total work, 1966.) Film Culture A STATEMENT ON "WAVELENGTH" FOR THE EXPERIMENTAL FILM FESTIVAL OF KNOKKE-LE-ZOUTE by Michael Snow WAVELENGTH was shot in one week Dec. '66 preceeded by a year of notes, thots, mutterings. It was edited and first print seen in May '67. I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I wasthinking of,planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of "illusion" and "fact", all about seeing. The space starts at the camera's (spectator's) eye, is in the air, then is on the screen, then is within the screen (the mind). The film is a continuous zoom which takes 45 minutes to go from its widest field to its smallest and final field. It was shot with a fixed camera from one end of an 80 foot loft, shooting the other end, a row of windows and the street. This, the setting, and the action which takes place there are cosmically equivalent. The room (and the zoom) are interrupted by 4 human events including a death. The sound on these occasions is sync sound, music and speech, occurring simultaneously with an electronic sound, a sine wave, which goes from its lowest (50 cycles per second) note to its highest (12000 c.p.s.) in 40 minutes. It is a total glissando while the film is a crescendo and a dispersed spectrum which attempts to utilize the gifts of both prophecy and memory which only film and music have to offer. CONVERSATION WITH MICHAEL SNOW by Jonas Mekas and P. Adams Sitney (Late in the night on August 15, 1968 Michael Snow showed us the rough cut of a film in progress,approximately one hour long, in which a camera fixed to a tripod in a schoolroom pans continually left-right-left-right, sometimes with actions and sometimes with only the empty room. Following the screenings we asked him to describe his film career.) Snow: I made my first film in 1956 or 57. I was painting before that. I did not make another one until 63. It wasin Toronto and we (Joyce Wieland, his wife, and himself) actually met while working at a film company, which was the first company to make TV commercials in Canada. It was headed by George Dunning; Dick Williams was there also, whom you may have heard of, he's done long animated films. These were guys who had worked at the National Film Board of Canada and they started a little company. I don't know how our paths crossed, but anyway I started working there. They did mostly animation. I wasthere about a year and a half until the company folded. All of us who were working there made films on our own. The first onethat I made wasanimated. I worked in some others. We all made them. Joyce made some and was in others. Some of them were nice too. Sitney: When did you first come to New York? Snow: We've been here for six and one half years. When I first came here I ran into a guy named BenPark. I had been working on the idea for a film which involved^using the Walking Woman figure which I usein all my work, sculpture, printed, and everything. He became very interested in financing the film; so we started to work on it. We shot about three hours of film. Then he took over the thing. He owns it. Both this film and NEW YORK EYE AND EAR CONTROL were part of the variations that I made on the theme, the one image theme of the Walking Woman. I worked in all kinds of materials; some media even that are kind of hard to name, like making...

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Additional Information

ISBN
9780889206045
Related ISBN
9780889202436
MARC Record
OCLC
180704522
Pages
293
Launched on MUSE
2012-01-01
Language
English
Open Access
No
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