Jakobois

Jakobois

Nascimento : , Riom, Puy-de-Dôme, France

Morte : 2022-09-17

História

The road which led Jakobois, like many experimental film-makers, to filmic expression was painting. This development he owes to a succession of encounters and personal choices rather than to a university or art school. He has worked in the mediums of sculpture and painting since 1972, influenced by the writings of Jean Dubuffet and the work of Paul Klee, exploring the confluence between minimal art and gestural expression. His first encounters with experimental film date back to 1976, and occurred in the meeting places and specialized programs which at the time proliferated on both banks of the Seine in Paris. He began with using the Super 8 medium, working autonomously as an "artist film maker". His work has been seen in many film festivals as far as Rotterdam, London, Tokyo, Moscow and New York, including a major retrospective season of his films in Paris at the Centre Pompidou in 1988. He was a member of the group "4 à 4 Métro BarbèsRochechou Art" with Téo Hernandez, Michel Nedjar and Gaël Badaud.

Perfil

Jakobois

Filmes

Vues du pont
Director
Passage des petit Métiers
Director
Child Play - Traffic Jam
Director
Sans titre (25 julliet 1988)
Director
Intervalometered cafe scene from 1988. The transient beauty of Paris in Summer captured on so many 8mm frames.
Le dit de l'escalator
Director
Passage du désir
Director
Passage du désir, a prelude by Jakobois uses the pornographic video-image to which a rhythmical treatment has been given. The sexual activity is explicit. We can clearly understand what is going on. Ultimately there Is the Impression of a stained glass window fixed over the screen. It seems that the desire of the film-maker is to create a new sensual vision out of the perception of the video Image.
Un an d'une vie
Director
Les ponts d'Asnières
Director
Paris vue par vue
Director
Fragments
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
Jeux et joueurs
Director
Rumeurs Saint-Maur
(voice)
"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims' path to Saint-Denis) and suddenly make me want to take a closer look. "Images", at the same time, spring from T.S.F.'s post, Louis Moreau Gottschalk starts playing on the keyboard of the pedestrian crossing at the bottom, there, just below my windows; Henri Vieuxtemps makes the umbrellas dance to an old American tune and Gaël, on a visit, takes up this tune on his magic flute. "Some naturalists claim that insects adapt to the vegetation around them and modify their physiology accordingly," says Louis Moreau Gottschalk; I claim that some filmmakers adapt to the spectacle around them and modify their perception of the world accordingly. Certainly I am one of them, and I console myself by thinking that I am not the only one of my kind.
Cinema de camera 1. 2. 3. 4.
Director
Rumeurs Saint-Maur
Director
"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims' path to Saint-Denis) and suddenly make me want to take a closer look. "Images", at the same time, spring from T.S.F.'s post, Louis Moreau Gottschalk starts playing on the keyboard of the pedestrian crossing at the bottom, there, just below my windows; Henri Vieuxtemps makes the umbrellas dance to an old American tune and Gaël, on a visit, takes up this tune on his magic flute. "Some naturalists claim that insects adapt to the vegetation around them and modify their physiology accordingly," says Louis Moreau Gottschalk; I claim that some filmmakers adapt to the spectacle around them and modify their perception of the world accordingly. Certainly I am one of them, and I console myself by thinking that I am not the only one of my kind.
Film sans Cocaïne
Director
Chutes de Michel Nedjar
Himself
Outtakes from the movie
For Renésio (Tribute to a Found Friend)
Director
Image Noise (Osmin's Windows)
Director
"...the main thing, both during filming and during editing, was not to pay attention, simply to wait to be surprised by a detail and let myself be carried away to another visualization in a dance-like movement."
A Rain of Roses (To Rose Lowder)
Director
Images from the bridge over Canal Saint-Martin in Paris. The inland waterway vessels Rose and Pluie de roses pass each other. Changes pile up and the camera unravels them, through shooting, for a mise en abyme of the fall.
Mesures de miel et de lait sauvage
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.”
Passage du thermomètre
Director
Film made by passing - passing through - passing through - passing from an erotic desire to a filmic desire. The eye slipping from one object of desire to another. Some pass, others enjoy. Ejaculation film during the transition from winter to spring. Suites d'enfilades, suites d'enculades. Suites of variations on the theme of the passage. Passage from underground to overground. Switch from black and white to color. Passage from day to night - passengers in the shade. Passage of desire. Switching from one image to another. Passage - message. Passage from the near to the far, from the far to the near: setting in the abyss. New fleeting visions in a public passage that does not lead to the metro.
4 à 4 Métro-Barbès-Rochechou-Art
Music
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
4 à 4 Métro-Barbès-Rochechou-Art
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
4 à 4 Métro-Barbès-Rochechou-Art
Director
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
Three Drops of Mezcal in a Glass of Champagne
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
Bouquet of Eyes
Music
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
Bouquet of Eyes
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
Bouquet of Eyes
Director
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
Cinématon XXVI
N°251
Reel 26 of Gérard Courant’s on-going Cinematon series.
Our Lady of Paris
Music
Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments
Sur Graal de T.H.
? U.N.K. (Royaume de Nature Non-Identifiée)
Director
Lacrima Christi
Musician
Lacrima Christi, third part of the tetralogy Le Corps de la Passion (The Body of the Passion, 1977-1980), is inspired by Christian mythology, from which it draws a creative transformation force, in a search for identity that questions the two cultures to which the filmmaker belonged.
Lacrima Christi
Lacrima Christi, third part of the tetralogy Le Corps de la Passion (The Body of the Passion, 1977-1980), is inspired by Christian mythology, from which it draws a creative transformation force, in a search for identity that questions the two cultures to which the filmmaker belonged.
Fleur Bleue
Director
Déjà ? vu
Director
Horrible Tragedy
Director
Sarah B. relives her awkward film debut. On a pedestal table, a headline, on the front page of France-Soir, challenges her, she immediately transcends it, then resumes "Phèdre" one last time under the astonished gaze of the kids of Belleville before spending one last summer in Belle-Île.
Mon tricot (Thanx to Wilma Schoer)
Director
F.H. 79 (Arrête ton cinéma)
Director
Thé au bois
Co-Director
Le sexe du Loup-Garou
Director
Impostors
Additional Photography
One of Mark Rappaport's later narratives (which won the Gold Hugo for Best First Feature at the Chicago International Film Festival in 1979), Impostors is an off-kilter comedy/mystery focused on two magicians trying to find Egyptian jewels, their promiscuous assistant, and a man who loves the assistant.
Punky's Way
Director
Lougarou de Nouillorque
Film in three parts: (1) Paranorama 3 and 4: a handmade Région Centrale. At once observation and description of the realm of vision, of what is possible to see (sound recorded at the time of shooting). (2) Paranorama 5: simple observation of the realm of vision (sound added at a later time: illustration). (3) Pierre Rivière and I: attempt at reading the first lines from Pierre Rivière's testimony, as an embodiment rather than a stage direction.
Lougarou de Nouillorque
Director
Film in three parts: (1) Paranorama 3 and 4: a handmade Région Centrale. At once observation and description of the realm of vision, of what is possible to see (sound recorded at the time of shooting). (2) Paranorama 5: simple observation of the realm of vision (sound added at a later time: illustration). (3) Pierre Rivière and I: attempt at reading the first lines from Pierre Rivière's testimony, as an embodiment rather than a stage direction.
Cristaux
Music
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Cinématon
N°251
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.
Paranorama 1 et 2
Paranorama 1 et 2
Director
Souvenir-Souvenir
Director
La fenêtre et le néant
Director
Schizodrame
Director
Cristo
Production Assistant
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Cristo
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Du regard comme objet (b)
Director
When going from a painting job to a cinematographic work, I felt the need to establish the basic concepts of my creative activity. The day before I left the workshop where I had been working for two years, I decided to make a film about the glances thrown by the passers-by of the rue Louis-Blanc in the window of this room. —Jakobois
Eclamorphoses
Director
Eclamorphoses balances a loop of sound (by La Monte Young) with loops of visual material derived from re-photographed slides of amorphous painted abstractions which are carefully and systematically permuted by super-impositions, scratches, punctures, slices, reticulated paint-on-the-film-strip, step-printing, changes of projector speed, and finally zooming of the image with the projector lens and live manipulation of the projector and light beam (with a hand-held prism).
Visions Fugitives
Director
Cinématon n°251 : Jakobois
Chutes de trois gouttes de mezcal dans une coupe de champagne
Outtakes from the movie
Chutes de 4 à 4 Métro-Barbès-Rochechou-Art
Director
Outtakes from the movie