Chick Strand
Nascimento : 1931-12-03, Northern California, USA
Morte : 2009-07-11
História
Chick Strand's accomplishments as an artist spanned more than three decades. In the early 1960s, with a new anthropology degree in hand, she turned her attention to ethnographic filmmaking. Her early work focused on Meso-American cultures explored through the language of the experimental documentary.
In 1961, she founded Canyon Cinema with Bruce Baillie, an organization that, in 1965, spawned the San Francisco Cinematheque. They organized screenings of experimental, documentary and narrative films in East Bay backyards and community centers. Acting in response to a lack of public venues for independent movies, they were part of a wider explosion in American avant-garde film. The era was one of social idealism and communal energy, and the films they showcased boldly embraced purely cinematic visual expression and cultural critique.
Strand left Northern California in the late 1960s to pursue studies in ethnographic film at UCLA. She then joined the faculty of Occidental College, where she served as the director of the film as art program for a quarter of a century. In the 1970s she continued to define her visual technique, and her subjects more frequently became women. She soon evolved a distinctive film style: backlit subjects photographed in close up and in motion, with a handheld telephoto lens. The technique produced sensual, lyrical images that became Strand's signature. Her entire filmography numbers nearly a score of works, and along the way, she also become an accomplished photographer and painter.
Director
A Mexican flower seller’s story of personal tragedy is delicately illuminated in an intimate and moving act of portraiture that is both unsettling and liberating. In her final film, Chick Strand mixes brutal heartbreak and palpable joy into a transformative vision of dignity and vitality.
Director
Intimate documentary about young women who make papier mache fruit and vegetables in a small factory in Mexico. They have a gringo boss, but the factory is owned by his Mexican wife. The focus of the film is on the color, music and movement involved, and the gossip which goes on constantly, revealing what the young women think about men.
Director
Aztec romance and the dream of love. The anthropologist’s most human desire, the ultimate contact with the informant. The denial of intellectualism and the acceptance of the romantic heart, and a soul without innocence.
Director
Continuing the life of Anselmo, a Mexican street musician, and his life-long struggle to make a good life for his children. This film focuses on his relationship with his wife Adela and his mistress, Cruz, and theirs with him.
Director
A "new narrative" film based on the visions of magic realism in an Anglo context. This is a gothic mystery that explores a reckless pursuit of interchangeable personalities and experience. Whether experience is first hand, read, remembered from a conversation during a chance encounter, heard of from all possible sources of information, whether fact or fiction, the "experiences" become ours; reinterpreted, reconstructed, and restructured, finally becoming our personal myths, and the source of our poetry and dreams. The sources for this film include night dreams, the idea of holocaust, the exoticness of the Mid-East, the sensuality of animals, the explorations of Scott in Antarctica, and a film I once saw, entitled The Son of Amir Is Dead.
Director
"A sort of collage film, using images shot for other films that somehow never were finished. The sound comes from various sound gathering adventures. An Anglo woman's interpretation of magic realism."
Writer
Loose Ends is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-increasing numbers and complicated mixtures of fantasy, dream and reality from both outside and in, these fragmented images of life, sometimes shared by all, sometimes isolated and obscure, but with common threads, lead us to a state of psychological entropy tending toward a uniform inertness… an insensitive un-involvement in the human condition and our own humanity. —Chick Strand
Director
Loose Ends is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-increasing numbers and complicated mixtures of fantasy, dream and reality from both outside and in, these fragmented images of life, sometimes shared by all, sometimes isolated and obscure, but with common threads, lead us to a state of psychological entropy tending toward a uniform inertness… an insensitive un-involvement in the human condition and our own humanity. —Chick Strand
Director
A wet hot dream about sensuality.
Director
An abstract compilation of found footage.
Director
A bewitching, mysterious work of enveloping beauty, the film’s ominous title and a dedication to Anne Frank deeply inform our reading of its haunting subtext.
Director
Chick Strand's SOFT FICTION is a personal documentary that brilliantly portrays the survival power of female sensuality. It combines the documentary approach with a sensuous lyrical expressionism. Strand focuses her camera on people talking about their own experience, capturing subtle nuances in facial expressions and gestures that are rarely seen in cinema.
Director
An expressionistic, surrealistic portrait of a Latin American woman.
Director
Strand spent over twenty years documenting her friend Anselmo Aguascalientes’ life, eventually creating a stunning trilogy of films—Anselmo, Cosas de mi vida, and Anselmo and the Women—tender portraits that are also glimpses into poverty, resourcefulness, perseverance and patriarchy.
Director
Poetic surrealism. Approach is experimental in relationship of image and sound. A film about the loss of innocence and the search for the essence of the human spirit. Funded by a Guggenheim Fellowship.
Director
Impressionistic surrealism in three acts. The approach is literary experimental with optical effects. There are three mental states that are interesting: amnesia, euphoria and ecstasy. Amnesia is not knowing who you are and wanting desperately to know. I call this the White Night. Euphoria is not knowing who you are and not caring. This is the Dream of Meditation. Ecstasy is knowing exactly who you are and still not caring. I call this the Memory of the Future. This is an autobiographical film funded by the American Film Institute.
Cinematography
Filmed at Mission San Francisco de Guayo on the Orinoco River Delta in Venezuela, in 1965. A Franciscan nun and an Indian woman describe the Indian way of life before and after the arrival of the mission 20 years prior to the making of the film; their words are translated to English voice-over. They discuss marriage ceremonies, fishing, gender roles in work distribution and family responsibilities, shamanism and death rituals.
Editor
Filmed at Mission San Francisco de Guayo on the Orinoco River Delta in Venezuela, in 1965. A Franciscan nun and an Indian woman describe the Indian way of life before and after the arrival of the mission 20 years prior to the making of the film; their words are translated to English voice-over. They discuss marriage ceremonies, fishing, gender roles in work distribution and family responsibilities, shamanism and death rituals.
Director
Filmed at Mission San Francisco de Guayo on the Orinoco River Delta in Venezuela, in 1965. A Franciscan nun and an Indian woman describe the Indian way of life before and after the arrival of the mission 20 years prior to the making of the film; their words are translated to English voice-over. They discuss marriage ceremonies, fishing, gender roles in work distribution and family responsibilities, shamanism and death rituals.
Director
A film poem using found film and stock footage altered by printing, home development and solarization. It is a film using visual relationships to invoke a feeling of flow and movement.
Director
Strand spent over twenty years documenting her friend Anselmo Aguascalientes’ life, eventually creating a stunning trilogy of films—Anselmo, Cosas de mi vida, and Anselmo and the Women—tender portraits that are also glimpses into poverty, resourcefulness, perseverance and patriarchy.
Director
An experimental film poem in celebration of life and visions. Techniques include live action, animation, montage and found images.
Director
"In celebration of movement." - C.S.
Director
Chick Strand's first film, made while living in the Bay Area, features her young son Eric as a little boy traipsing through a mysterious landscape, perhaps pursued by the titular monsters.
