Larry Gottheim
출생 : 1936-12-03, New York, New York
약력
Born in 1936, Larry Gottheim taught himself 16mm filmmaking in the 1960s and became one of America's leading avant-garde filmmakers. From his late-1960s series of sublime 'single-shot' films to the dense sound/image constructs of the mid-1970s and after, his cinema is the cinema of presence, of observation, and of deep conscious engagement. While addressing genres of landscape, diary and assemblage filmmaking, Gottheim's work properly stands alone in its intensive investigations of the paradoxes between direct, sensual experience in collision with complex structures of repetition, anticipation and memory.
Gottheim developed the Department of Cinema in Binghamton, N.Y. and taught there for more than three decades. This extremely influential department attracted the most talented artists, academics, and filmmakers of the day including Ken Jacobs, Hollis Frampton, Peter Kubelka, and Ernie Gehr among many others. In the 1990's Gottheim has also served for a brief time as director of the Filmmaker's Co-op in New York. Gottheim's films are in the collections of museums and archives throughout the world, and a program of his restored early films premiered at the 2005 New York Film Festival.
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An exhilarating cinematic train ride at the speed of sound through a quantum landscape. Music. The dance of death. Do you remember?
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Two souls search for one another from opposite ends of history, with music by the Catalan artist Eli Ningú.
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"There are scenes of Vodou ceremonies in which I participated, scenes filmed during an uprising, personal images (Hand is my son from a Haitian marriage) but this is far from a documentary. There are no sounds other than the sync sounds that accompany the images. The sections devoted to five ceremonies are separated by “Interludes” that introduce other material, some of it threaded throughout. This is a tightly wound network of sonic and visual connections, with secret passages between elements. Thoughts about the relationship between ceremonies and personal and political life can arise, and of spectatorship in and outside of cinema, video and dreams." – Larry Gottheim
Self
Filmmaker Jonas Mekas films 160 underground film people over four decades.
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A cosmic voyage into hidden knowledge.
Director
"With characteristic wit and rigor, experimental filmmaker Larry Gottheim here applies his impressionistic editing style to footage collected during his travels in the Dominican Republic. Gottheim’s formal emphasis on repetition and fissures between sound and image resonates here as a mode of sociological reflection (with the fragmentary montage mirroring elements of ritual while also destabilizing the ethnographic gaze). A largely overlooked antecedent to the contemporary blending of avant-garde and ethnographic filmmaking, MACHETTE GILLETTE… MAMA still poses a potent challenge to documentary convention." - Max Goldberg
Director
Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" - analogies between weaving and spinning thread and images already a pattern within film history (e.g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.
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Christened for the Greek mythological personification of human memory, MNEMOSYNE, MOTHER OF MUSES is Larry Gottheim's facsimile edition of how one reflects on life and experiences (namely, in flashes and excerpts of sound and imagery). Typically known for his avant-garde, single-shot meditations on nature, Gottheim here provides a palindromic quotation of his own memories, including street corners, movie quotes, family members and Johnny Hartman tunes.
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From student films, with additional material shot in New Mexico.
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"A film about transformations. It was made with students from one of my seminars. We attempt to deconstruct a poem’s language by playing it backwards until some words emerge from the backward text. The students then created film images that illustrate this new text. Then they create new sounds that relate to those images. It was a way to turn language into a means to generate a film free from the restrictions of its most immediate intention." — Larry Gottheim
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It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.
Director
네 개의 4분짜리 이미지 섹션과 네 개의 4분짜리 사운드 섹션이 연결되어 사운드 섹션과 이미지 섹션의 모든 조합의 경우로 구성된다. 작품 속에서 각각의 이미지 & 사운드 섹션은 "친화성"을 확립한다. 각각의 요소가 네 번 반복되면서 매번 재맥락화가 일어난다. 관객은 각각의 서로 다른 섹션의 요소에서 친화성을 통해 그때 그때 스크린에 보이는 것과 들리는 것들을 통해 “유희”를 할 수 있다. 모든 것은 내 삶과 작품에 깊이 연관된 문제들과 공명하지만, 또한 관객은 각자 자유롭게 연상할 수 있도록 개방되어 있기도 하다. 내 초기 작품에 등장하는 "자연"이라는 주제는 여기서도 반복되지만 보다 복잡하게 제시된다. 음악, 언어, 회화, 인간과 동물, 그리고 지구의 관계와 같은 주제도 등장한다. 워즈워스의 시구는 매번 영어가 모국어가 아닌 다른 사람들에 의해 낭독되었다. 각자는 일종의 낭독자의 초상이다. '요나스 메카스', '피터 쿠벨카', '클라우스 와이보니', '하인츠 에믹홀츠', '다카히코 이이무라' 등이 낭독자에 포함되어 있다.(래리 고트하임)
Director
The second in Larry Gottheim's ELECTIVE AFFINITIES cycle, MOUCHES VOLANTES is, in the filmmaker's own words, "a celebration of elusive relationships" between sound and image, color and black-and-white, the moon and the waves, the aural testimony of Blind Willie Johnson's widow Angelina and the camera's illumination of a world simultaneously of and beyond the everyday. These lyrical fragments sweep in and out as with the tides; a time-based symmetry slowly emerges as the film reveals itself to be a perfect circle.
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Working with Virgil’s four-part poem “Georgics” and Antonio Vivaldi’s concertos “The Four Seasons” as models, Gottheim arranged his painterly compositions into four distinct sections, each edited according to its own exacting pattern. The seasonal flux thus informs both the form and content of the image, with the basic elements of trees, sky, hills and the occasional crisscrossing clothesline filmed in every imaginable light.
Director
Arguably Larry Gottheim’s most exuberant experiment in the single-shot, single-roll format (and his first with a soundtrack), HARMONICA trains the camera on a friend improvising a tune in the backseat of a moving car. Held out the window, the harmonica becomes a musical conduit for the wind, while Gottheim's film transforms before our eyes into a playful meditation on wrangling the natural elements into art. - Max Goldberg
Director
In 1971 it seemed a formal companion to DOORWAY, bringing out further possibilities of small movements within the format of a continuous shot. In 1980 something sang to my current conserns, hinted at by drawing this title into that gentle sensual pulling. Something about what is moving between me, us and that out there... what us per-forming.–L. G.
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A serene winterscape glides, as in a dream, across the screen, from darkness to darkness...Vision shivers, hesitates ever so slightly to savor, to hold still, but inevitably everything passes. Far becomes near, near far. Shadows seed their counterparts in the depths of the viewer's heart.
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"…elegant yet rustic in its simplicity of execution; tugged gently toward different sides of the set by hints of color and motion interactions, positive and negative spaces, etc., and the unyielding delivery on one of the great apotheoses of poetic cinema at fade-out time." – Tony Conrad
Director
A fixed camera companion to FOG LINE. Bright green leaves stripped from ears of corn, and later, the vibrant yellow ears placed steaming in the waiting bowl. Each of these actions inaugurates a period in which one contemplates an image whose steady transformation is barely perceptible–the delicate slow movement of light and shadow, the evolution of subtle steam into the film grain. A meditation on the fragile moments of corn's passage from living sun-nourished plant to food to light image. The mind attempts to grasp duration itself, to distinguish its own creating from its perceiving, but distictions blur in the wholeness of times's and consciousness' flow.
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A bowl of blueberries in milk, changing light radiant on the berries and on the glazed bowl, the ever more radiant orb of milk transforming into glowing light itself, with a brief shadow coda answering the complex play of shadows. The regular pulses of light framing the looser rhythmus of the spoon, itself a frame. A charging of each of the frame's edges with its own particular energy. Within and without, whites and blues, lines and curves. The pulses of vision, the simple natural processes, lift the spirit.
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Larry Gottheim’s Fog Line consists of a fixed shot of clearing fog in a valley in upstate New York where he lived and worked in the early seventies.
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Documents Harpur College's Afro-Latin Alliance.
