Rose Lowder
出生 : , Lima, Peru
略歴
Rose Lowder (born in 1941 in Miraflores, Lima, Peru) is a French filmmaker. From 1947 to 1958, Lowder studied at the Colegio San Silvestre, Miraflores. She then specialized in fine arts studies in artist’s studios and art schools in Lima, Peru (The Art Center (1951-1957), La Escuela de Bellas Artes (1957-1958) then in London (Regent Street Polytechnic, 1960-1962), Chelsea School of Art (1962-1964). While in London, she pursued artistic practice while working as an editor in the film industry (1964-1972).
After 1977, Lowder worked on the visual aspect of the cinematographic process and had Jean Rouch, as well as his department from the Université Paris X, and presented a part of her research for a PhD entitled ‘Le film expérimental en tant qu’instrument de recherche visuelle/Experimental film, a tool for visual research’ (1987).
In action since 1977, she has been programming rarely shown films as the co-founder of the Archives du film expérimental d’Avignon (AFEA, 1981), aiming to acquire 16mm films and paper documents, as well as publishing several books; Lowder was thus able to make these works more accessible to the public: ‘La part du visuel, films expérimentaux canadiens/ The Visual Aspect, Canadian expérimental films’ (AFEA, 1991), ‘L’Image en mouvement’ (AFEA, 2002), ‘Images/discours’ (AFEA, 2006).
From 1996 to 2005, Lowder was an associate professor at the Université de Paris I and taught practice, history, theory and aesthetics.
By focusing her research on visual perception in relation to the cinematographic means of expression, Lowder concentrated on the various ways in which one can alter the graphic and photographic visual features of the images as it metamorphoses in time. As a result of this work, she was able to compose the image in the camera by interweaving the frames as the film strip passes the lens several times. This method of working is meticulous and complex because it consists of recording a series of images, frame by frame, in the camera, in order for them to appear simultaneously when projected on the screen.
Director
BOUQUETS 31-40 continues, like the previous Bouquets, to explore different places, which for various reasons, are ecological. For 31-40 they are in France, in Ardèche, Alpes-de-Haute-Provence, Tarn and Vaucluse and also in Piemont, Italy.
Director
The film starts in the Department of Ardèche with the Mont Gerbier de Jonc (1551 m) from where emerges the "true" source, the official, most distant one from the mouth of the Loire (1012 km), the longest wild river in France. The work looks closely time-wise on the first kilometers of the river's water flow. The scene's sound meets up with us at the end.
Director
"The town of Asti, Piemonte, in Italy, has in its park a very small pond in which there are a great number of turtles, a species 'Trachemys scripta and Trachemys scripta elegans' protected by the 'Movimento Nationale U.N.A. Onlus Uorno-Natura_Animal'”. In spite of the very limited space in the pond, a spirit of well-being prevails, all is calm while each turtle tries to find its place even if it means falling into the water every now and then." - Light Cone
Director
"Turbulence was filmed in the medieval town of Alet les Bains [...] In the middle of the peaceful city, with a warm and relaxing climate, known for its thermal baths, one can see [...] a small waterfall, the images of which, as well as the title of the film refer to the present state of the world today." - Light Cone
Director
This is the first little film dedicated to yann beauvais that, because of the appearance of a hair from top to bottom of all the images, could not be shown in the Brazilian exhibition in Recife celebrating his 40 years of activity.
Director
With this film I wanted to pay homage to Yann Beauvais for his having, on top of his own work as an artist, against all odds, lack of funds or recognition concerning the field in question, made an important contribution to make known, as much by his writing as by his presenting and distributing, works by other authors. In hurrying and neglecting an infection on my right thumb, I had to film more or less with one hand and then spend two days in hospital. I can only think that the making of this little film reflects all the difficulties previously faced by Yann himself.
Director
Sources originated from Thomas the Gardener’s wish to celebrate the 30th anniversary of his making vegetable pâté. Leaving urban life behind him in order to renew a relationship with the land, Thomas started up an organic garden in the beautiful area of hot and cold springs, lakes and rivers, in the upper Aude Valley. In the middle of making his pâté, the gardener is surrounded, as the water sources of the Aude river rush by, by one of the sources for his recipies, the flowers and spices from his garden.
Director
In the heat of summer, solar panel reflections blend with butterflies on flowers and a little bird eating the mulberries.
Director
Six poetic pictures, five based on the sun, the wind and the sea, while the last lingers on a small park left fallow.
Director
China seen from Beijing May 1988, a year before the Spring 1989 Tiananmen rebellion, where the ancient traditional philosophies and social practices confront the political and economical ideological ambitions of the State.
Director of Photography
A glimpse of a spot around the Hôtel-Pension Beau-Site on the Chemin sur Martigny, Switzerland, situated in a hamlet surrounded by snow-capped mountains.
Screenplay
A glimpse of a spot around the Hôtel-Pension Beau-Site on the Chemin sur Martigny, Switzerland, situated in a hamlet surrounded by snow-capped mountains.
Director
A glimpse of a spot around the Hôtel-Pension Beau-Site on the Chemin sur Martigny, Switzerland, situated in a hamlet surrounded by snow-capped mountains.
Director
Far from the reverberations of contemporary society, the Guérande Salt Marshes have a rhythm of their own throughout the year. After winter restoration work, the mosaic of shallow salt pans are prepared, which let water circulate; combined with the effects of the sun and the wind, these allow the salt to crystallize. By the end of the process, as at the end of the film, the fine salt flower crystals float on the surface above the bigger crystals on the bottom in all directions at once.
Director
An entry, filmed in Italy, Switzerland and France, in Rose Lowder's series collecting one minute episodes, each composed of footage shot around a general geographic location that has been alternately woven, frame by frame, into a single film reel. In spite of its numbering, this collection was completed later than Bouquets 21-30 (delayed, Lowder explains, "by the weather and a series of related technical/aesthetics incidents").
Director
In this film Lowder moves away from the notion of a work based on a preconceived filming procedure, adjusting the visual characteristics of the image in order to approach the temporal dimension of a pond full of frogs. In front of creatures that tend to be elusive, how can one record moments that are meaningful? How can one render a living moment visible and connect different recorded moments together?
Herself
The latest in an ongoing series of portraits including inventors Maurice Seddon and Hugh de la Cruz. Here, filmmaker Rose Lowder prepares a macrobiotic meal in her tiny flat in Paris in October 2005. As Rose describes what she is cooking and why, we hear about Rose's childhood spent in Peru through to her current life in Avignon and glimpse a singular creator.
Director
BOUQUETS 21-30 is a part of the ecological BOUQUETS series, consisting of one-minute films composed in the camera by weaving the characteristics of different environments with the activities there at the time. The filming basically entails using the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed. Thus each bouquet of flowers is also a unique bouquet of film frames.
Director
the fishing boats are out in the water the fish are caught. brought into shore the men haul the catch off the boat. the boat once again goes out to catch and the cycle continues. for centuries this pattern has repeated it's cycle like the tides which roll in and out a story which draws its energy from the sun the moon draws the tides the men work and die and it continues take a moment stretch your eyes and imagine just imagine all stories are true. (CB)
Herself
Rose Lowder is an artisan of cinema. Her 16mm camera takes the place of a loom for the weaving of images. She has consecrated her life to these tapestries, these embroideries whose motifs have for many years come from nature, in a state of incessant becoming. Like her elders, the Impressionist painters, she renders her bouquets stroke by stroke, image by image, color after color, to give life to her pointillist compositions in motion.
Director
Little is necessary for everything to appear differently. The date, the hour, the weather, the space's layout, one's glance or presence of mind . . . can make everything change. The boats sail out of the Vieux port in Marseille to be amongst the poppy fields.
Director
Worn out by the sea, the Sète fishing boats decide to spend a day in the country amongst the poppies surrounding Arles, Bédarrides and the Thouzon Grottos.
Director
Canada's king of visual alchemy teams up with France's mistress of minimalism to fashion a photo-based work of cinematic abstraction. Tactile and textured, luscious and luminescent, Two Pictures is a singular statement embodying a powerful dichotomy. This is a film that is simultaneously about nothing and about everything.
Director
Bouquets 1-10 is Lowder’s first collection in an ongoing series of one minute episodes, each composed of footage shot around a general geographic location that has been alternately woven, frame by frame, into a single film reel and connected through the interstitial still life image of a flower that cues the beginning of each integrated film Bouquet. Each bouquet of flowers is also a bouquet of frames mingling the plants to be found in a given place with the activities that happen to be there at the time. Lowder uses the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed.
Herself
The bamboo grove of the Andes. Are we in the East? A market. Hanging clothes, spots of colors. The farm of La Fage.
Director
Quiproquo is a dialogue on the balance to be found between nature and social-industrial technology. As the film refers to the economy of the means involved in relation to what is expressed, it is both a reflection on the potentialities of the medium and an enquiry concerning the implications of the reality portrayed. It is a question of limits and possibilities, the beauty and tragedy of the world, with a critique of contemporary society’s dominant choices constantly in the background. Filmed in Berre l’Etang, Bouches du Rhône, in the villages of Orgon, Bouches du Rhône and La Coucourde, Drôme, on the roads to Beaumont-du-Ventoux and Carpentras, Vaucluse, and Tarascon, Bouches du Rhône.—Canyon Cinema
Director
The title of “Impromptu” reflects both its creating process and the trait of life taking an unexpected course. This film intertwines time and space by being filmed frame on frame, in surprising locations, during a surprising time… but exactly this was the idea of the creator: contingency and visual improvisation. —Kaunas International Film Festival
Herself
"One year before the massacre of Tian An Men [...] a few hundred meters from this immense square, where the tanks were going to crush the resistance, under the debonair gaze of Mao [...] I was loaned a tiny, autofocus camera, allowing me to shoot without framing, the lens wedged on my right hip. Everything is captured in clusters of images, edited directly into the camera. The diary of a stroller who travels through Beijing on foot and by bicycle - a cyclist among the cyclists who circulate in slow and tight flows." - Sudre
Editor
Alternating frames combine footage of Parisian landmarks taken at different times of day or in different seasons.
Director
Footage of beachgoers and boats in harbor, shown in alternating frames taken at different times and shown with different tints.
Director
Alternating frames combine footage of Parisian landmarks taken at different times of day or in different seasons.
Director
Footage of public spaces around Avignon, shown in alternating frames captured at different times.
Director
Looping carnival rides slow, stutter, and stop in the first film of Lowder's series disrupting the flow of time in quotidian French life.
Herself
Fugitive images of the northwestern city of France.
Director
Les tournesols colorés is derived from the same footage used in Les tournesols, but with candy colors, giving other modulations to movie movements. The two versions can be shown one after the other, although they were designed to be played separately.
Director
The film presents a field of sunflowers. The focus is adjusted frame by frame in succession according to a series of patterns on particular plants situated in different parts of the field. The diverse configurations placed on separate frames of the film strip appear, when projected successively, simultaneously on the screen. Thus, filmed one after another at different focal lengths, the sunflowers combine during projection to form one spatiotemporal image. LES TOURNESOLS COLORES is a capricious version of the film. - Film Makers' Coop
Director
In Retour d'un repère composé the same material is presented successively in three different versions : the first third is a straight single print which corresponds exactly to Retour d'un repère. The second third is a combined picture printed twice onto the same film strip (the second printing being in another tone and shifted back one frame) and the third section is a combined image printed in a similar way thrice. The length of Retour d'un repère composé is necessary : in the process of viewing the film the work gathers momentum thus giving access to a more intricate visual experience. "Composed recurrence" is a rough translation of Retour d'un repère composé as one loses the "point of reference" aspect concerning "repère".
Director
Couleurs mécaniques presents, in the order they were filmed, six different viewpoints of a merry-go-round. In each case the focus is adjusted so as to select, isolate and inscribe parts of the filmed scene onto the film strip in a way that allows elements of color in movement to be recombined in a particular manner during the projection of the film.
Director
Champ Provençal presents a frame by frame construction of a peach orchard at three different periods from a single viewpoint : with pink blossom (April 1), with green leaves (April 16) and with red-yellow peaches (June 24). Although the filming procedure is similar to that of Rue des Teinturiers, the recording processes controlling the organization the material in Champ Provençal are adapted to specific characteristics of the location with the aim of setting up another visual experience.
Director
A multi-projector, single-screen work superimposedshot a positive and negative print.
Director
The film is composed of twelve reels, each filmed on a different day throughout a six-month period along the eponymous street, joined in a slightly nonchronological order to avoid accentuating anecdotal aspects of the scene. The focus of each image, recorded frame by frame in the camera, is adjusted to highlight different items in each moment.
Director
Composed frame by frame in the camera, Parcelle (fragment, particle or bit) rests upon the alternate appearance and variable duration of tiny colored squares or circles placed on black backgrounds and inserted in series between plain white or colored images, creating optical superimpositions on the screen.
Director
The procedure of separating and extracting certain aspects of a scene by adjusting the focus of a series of frames in succession according to various organizational patterns is developed in Retour d'un repère. While the filmic operations are structured in relation to a limited space (a branch over a 19c duck pond), the filmic process rests on a visual transformation of a pantoun, a verse form borrowed from literary rhetorics, which characteristically transforms itself gradually and continuously in a precise manner. - Lightcone
N°6
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.
N°6
Reel 1 of Gérard Courant's on-going Cinematon series.
Director
This reel consists of three short films, two in black and white and one in color, that treat of a water wheel on the Sorgue. The essence of the work rests on a series of cross-references that are set up between the operational mechanisms of the filmed object and the recorded characteristics foregrounded by the choice of film stocks and filming circumstances. The title reflects the process involved. Roulement = rotation, rouerie = wiliness, aubage = paddle wheel unit. - Film Makers' Coop
Director
