Pip Chodorov
출생 : , New York, New York
약력
Pip Chodorov, born April 13, 1965 in New York, has been making films and composing music since 1972. He studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 (www.re-voir.com) and The Film Gallery, the first art gallery devoted exclusively to experimental film (www.re-voir.com/gallery). He is also co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.
Director
Super 8 flicker film shot and hand-developed in Seoul in spring 2022 with jazz soundtrack from a Jonas Mekas centennial tribute in Busan.
Director
Pip Chodorov's profile of Jacques Perconte
Director
Short documentary by Pip Chodorov showing Patrick Bokanowski's process in making "Un rêve solaire".
Director
In this documentary, under the gaze of Pip Chodorov, Patrick Bokanowski evokes the genesis of his films and shows, by explaining them, a certain number of his inspirations (his meeting with the painter Henri Dimier , his first photographic tests...), his tools (lenses, title bench, masks, costumes...), his attempts, such as this idea of filming the moving reflection of a mercury surface.
Music
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Cinematography
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Writer
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Himself / Narrator (voice)
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Director
Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.
Director
Charlemagne Palestine, New York musician in Brussels, and Pip Chodorov, film-maker from New York in Paris, evoke their home town through images filmed in 16 mm, sounds taken over the years, songs, electronic music, as well as a new composition of Charlemagne Palestine: The Pastrami Recordings.
Director
A figure with two wings on a church's roof. An opera is suggested, Madame Butterfly. A silent poem that combines effect and (angelical) truth...
Himself
The film documents an encounter at 202 Blvd Saint-Germain, in a cafe underneath Apollinaire's last place of residence. Jean-Jacques Lebel gives Jonas Mekas (who remains off screen), three objects associated with Apollinare: an autographed book, a Futurist manifesto, and one of Apollinaire's last drawings.
Director
In "Faux Mouvements", forward and backward motions occur together, movement in different directions are combined. We perceive motion in images that are in fact still. We can also see references to the spiral of the film reel, and the negative and positive of the film process.
Director
short documentary about the making of Dyn Amo
Director
Pip Chodorov's "Charlemagne 2: Piltzer" is a tour de force of hand-processed film which documents a Palestine piano concert. Chodorov uses flicker, negative/positive imagery, different printing techniques and colored filters to produce a film that is a true merging of sound and vision. - Frequent Small Meals
Camera Operator
A short portrait of Jonas Mekas on the occasion of his 2002 retrospective in Paris (for his 80th birthday). Through film clips and interviews, Mekas recounts his arrival in America, his early life in New York and his first filmmaking experiences. An introduction to his life and work.
Director
A short portrait of Jonas Mekas on the occasion of his 2002 retrospective in Paris (for his 80th birthday). Through film clips and interviews, Mekas recounts his arrival in America, his early life in New York and his first filmmaking experiences. An introduction to his life and work.
Director
A short portrait of Anthology Film Archives, New York s museum of independent cinema founded by Jonas Mekas in 1970. Features interviews with some of the workers including Mekas and some of his Lithuanian friends.
Camera Operator
Director
The double, the shadow of the subject, refers to the paradox that is at the heart of the human condition: the uniqueness of the viewer and looked, the voyeur seen.
Filmed back from New York in Paris in the winter of 1998, this film brings us back to earth, frame by frame, a meditation on the return that focuses our gaze surreptitiously on ourselves.
Director
In June 22sd 1998, Charlemagne Palestine was invited to perform at Bretigny sur Orge for the Captain Pip’s evenings. He asked me to attend as Captain Pip in order to participate in his performance.
Music
"This film is close to End Memory. Under the shock of a recent break-up I built a film with similar elements: a day of nostalgia in the countryside, the picking of blackberries, the meal, having fun with friends, at the edge of the pond, the sunset, the memory of a moment when everything was fine. It's also my only film since End Memory with my own music." (PC)
Director
"This film is close to End Memory. Under the shock of a recent break-up I built a film with similar elements: a day of nostalgia in the countryside, the picking of blackberries, the meal, having fun with friends, at the edge of the pond, the sunset, the memory of a moment when everything was fine. It's also my only film since End Memory with my own music." (PC)
Director
Three weeks of travel in the USA in June 1997: New York, Vermont, New York, Los Angeles, San Francisco, New York, edited entirely in camera and projected with music from the 60s.
Director
A joyful and light-hearted look at alienation. What we see: ugly modern buildings, too many tourists, uniformity - everywhere the same cafés, the same supermarket bags, beggars and homeless, Senegalese merchants selling small Eiffel Towers, police and people fleeing from them, aggressive restaurateurs, markets, crowded subways, traffic jams and exhaust fumes, prostitutes, street fights, clowns. What we hear: Dinner Music for a Pack of Hungry Cannibals by Carl Stalling, a selection of sound recordings for Warner Brothers cartoons from 1941-50.
Music
About ends and memory, the end of an era. I film to remember: the end of a summer, of a family, a last trip to Vermont before a separation, grandparents getting older.... I film impromptu, dissolving and fading in the camera. At night I hand-develop the film in a beaker. It sticks together and stains, leaving traces and holes that only add to the nostalgia. I leave the film as is, adding only some improvised music, which by its minor harmonies and discordances goes well with the faded, stained pictures.
Director
About ends and memory, the end of an era. I film to remember: the end of a summer, of a family, a last trip to Vermont before a separation, grandparents getting older.... I film impromptu, dissolving and fading in the camera. At night I hand-develop the film in a beaker. It sticks together and stains, leaving traces and holes that only add to the nostalgia. I leave the film as is, adding only some improvised music, which by its minor harmonies and discordances goes well with the faded, stained pictures.
Director
A complement to the previous film (Numéro 4, 1989) : the fictional hero has the power to stop the projector, returning the cinema to its photographic origins, killing its motion. Having the unfortunate idea of taking his self-portrait, he finds himself caught in a photograph, condemned to live in the fleeting reality of the single frame.
Director
The single frame is the only visible unit in film, yet it is nearly invisible. To see a single frame goes against the nature of cinema; even if that is its very nature. If every frame holds the same image, there will be no movement; if they are completely different from each other, there will be no movement either, but chaos. By using a still camera like a film camera and a film camera like a still camera, Numero 4 rides on the edge between film and photography. One unedited super-8 camera roll.
Himself
Portrait, alternating interviews and extracted from Pip Chodorov's films who evokes its conception of the experimental movies, the links of some of his films with photography. Their character, sometimes improvised, sometimes composed. He’s and editor's activities of videocassettes Re: Voir.
Director
Research complementary to that of the previous film: the fictional hero has the power to stop the projector, plunging the cinema back into its photographic origins, killing movement. Having had the unfortunate idea of taking his self-portrait, he finds himself locked in a photo, condemned to live in this fleeting reality of the photogram.
Director
Romanian fairy tales usually start with the sentence: “Once upon a time something happened, if it hadn’t happened it couldn’t be told.” In this fairy tale, a stranger visits the remote mountain village of Slon.
