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Chicago's Own: New Film and Video
Seven works by local artists. Thomas Comerford used a pinhole camera to shoot Fey Eyes Pinholes Drums Hum (1999), and despite the film's rather obscure structure, its diverse, soft-focus landscapes have a haunting and weirdly distanced virtuality. In Between Certainty and Oblivion (2000), James Hutcheson films still photographs from a variety of perspectives, giving them an unusual, almost animated power. Video maker Kyle Harris says there's a narrative in This Is Not a Rape (2000), but I didn't see any in its abstract patterns and images of genitalia, the frighteningly mechanical quality of its composition and editing echoed by a pulsing sound track. In The One Hundred Yard Dash Film (And the Record Belongs to . . . ) (1999) Kenny Eisenstein compares a person running on camera to the filmmaking process and the distance traveled to the reel of film, a strangely linear metaphor that seems to devalue the medium's potential. On the same program: Rosie Sanders's Annihilation Madam (2000), Eleftheria Lialios's collagelike Autobiography of a Greek Woman Part II (1999), and Bananafish (2000), Victor Spatafora's adaptation of a J.D. Salinger story. 79 min. |
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