Harry Dodge

A sustained, essayistic meditation on the transformation of matter:into new states, new meanings and—via digitization—into the virtual. The title derives from a well-known continuum fallacy—in which a change is said to be impossible because its exact moment of arrival cannot be discerned. Via a distorted collage of YouTube clips, many of which depict extreme physical incidents, the piece attempts to make manifest transformation, to attempt—even if in vain—a better apprehension of the transitive.

Feral tribes are the only inhabitants left in a decimated Los Angeles, sustaining themselves on the debris of an annihilated culture.

At first glance, Masters of None could be the home video of a family of neon-pink hooded figures, passing the time with charades, television, and Jiffy Pop on the stove. As in All Together Now, Masters has no dialogue or clear narrative arc, and while the domestic activities seem everyday, they are infused with suggestions of violence and danger.

A woman with a viking helmet, bloody nose, and large wheel of cheese rambles across Los Angeles, followed by a cameraman hoping to catch some action.

A blending of documentary and experimental narrative strategies, combining stunning 16mm landscape cinematography with a bold, lyrical voice-over to share two San Francisco stories: the history of the Golden Gate Bridge as “suicide landmark,” and the story of a butch dyke in San Francisco searching for love and self-discovery. The Joy of Life is a film about landscapes, both physical and emotional.

Under a cloudless Los Angeles sky, Kahn—dressed in incongruous heels and a summery dress—runs an electric weed whacker through a hill of overgrown grass.

Lost on their way to a desert rock concert, two loners remember the good times.

Winner is a fictional interview gone awry, featuring a reticent sweepstakes winner who doggedly avoids receiving her prize and manages to morph an ad spot into a mini documentary about her art work.

Winner is a fictional interview gone awry, featuring a reticent sweepstakes winner who doggedly avoids receiving her prize and manages to morph an ad spot into a mini documentary about her art work.

By Hook or by Crook chronicles the tale of two unlikely friends who commit petty crimes as they search for a path to understanding themselves and the outside world. Silas Howard plays Shy (a transgender man), who leaves his small town after the death of his father, and heads to the big city to live a life of crime. Along the way, he encounters Valentine, a quirky adoptee, in search of his birth mother. An immediate kinship is sparked between these men and they become partners in crime. Suffering money troubles, emotional problems, and physical confrontations, the duo face their issues head on and learn to trust each other and support each other in pursuit of their goals.

By Hook or by Crook chronicles the tale of two unlikely friends who commit petty crimes as they search for a path to understanding themselves and the outside world. Silas Howard plays Shy (a transgender man), who leaves his small town after the death of his father, and heads to the big city to live a life of crime. Along the way, he encounters Valentine, a quirky adoptee, in search of his birth mother. An immediate kinship is sparked between these men and they become partners in crime. Suffering money troubles, emotional problems, and physical confrontations, the duo face their issues head on and learn to trust each other and support each other in pursuit of their goals.

By Hook or by Crook chronicles the tale of two unlikely friends who commit petty crimes as they search for a path to understanding themselves and the outside world. Silas Howard plays Shy (a transgender man), who leaves his small town after the death of his father, and heads to the big city to live a life of crime. Along the way, he encounters Valentine, a quirky adoptee, in search of his birth mother. An immediate kinship is sparked between these men and they become partners in crime. Suffering money troubles, emotional problems, and physical confrontations, the duo face their issues head on and learn to trust each other and support each other in pursuit of their goals.

Cecil B. Demente (Stephen Dorff) é o líder de um grupo de cineastas terroristas que tem como meta principal em sua vida se vingar dos estragos provocados pelo cinema comercial de Hollywood. Para isso, decide sequestrar Honey Whitlock (Melanie Griffith), a mais popular estrela do cinema americano, que estava se dirigindo para a pré-estréia de seu mais novo filme arrasa-quarteirão. Com Whitlock em seu poder, Demente e sua gangue logo preparam a produção de um filme underground, em que forçam a famosa atriz a estrelar. Armados com luzes, câmeras e muita coragem, Demente e sua trupe se preparam agora para filmar em Baltimore, onde pretendem invadir os sets de filmagem de uma badalada sequência.

SD video, stereo sound by Harry Dodge and Stanya Kahn 2008

Harry Dodge's The Time Eaters, sparked by and in dialogue with Frances Richard's Anarch., follows the orientation of a freshly-minted human to earthly matters, both fleshly and phantasmagorical. This orientation, delivered by an ambiguously-gendered guide, is essentially a monologue that plays with comedic and narrative conventions while also exploring foundational questions about language: its relationship to knowledge, time, abstraction, experience, communication, and intimacy. As the title suggests, the video is also interested in the surfeit of information currently at our disposal, the time we take in downloading it, and the relationships forged by human animals in its haze.