Film Culture (Winter 1962/3)

Cats (2 min., Kodachrome; sound by Frances Breer). Mixture of figurative and non-figurative elements. 1956-7 Recreation I (2 min. Kodachrome, spoken text by Noel Burch). Frame by frame rupture of continuity in follow-up of endless loop, Image by Images I. Recreation II (1% min., Kodachrome, silent). Attempt to formalize frame by frame disparity. Jamestown Baloos (6 min., B&W & color, sound & silent). A synthesis of all the preceding techniques. In three parts. A Man And His Dog Out For Air (3 min., B&W, sound). Line and drawings in constant evolution. 1958-9 Eyewash (3 min., color, silent). Abstract animation and live photography. Prints THE GOLDEN POET by Gregory Markopoulos e) N JULY 8th, 1962 Ron Rice was awarded the Film-makers’ Festival Award for his experimental film, Senseless, at the Charles Theatre. Ron Rice has had the privilege of working in the medium of film; he has not failed the film spectator in being true to the medium of film. In great part, he has dared to penetrate time, and he has succeeded in destroying time through the eternity that only the art of film possesses. The sweet fictions of contemporary films, telling a story or pretending to documentary styles (I’ve never seen a documentary nor do I ever hope to see one.)* are shadowed by Ron Rice’s original investigations in Senseless. At first elusive, as if each image were the reflection of the film-maker himself, Senseless, creates for the film spectator a disarranged but glorious night. Images like floating songs pass between the screen and the film spectator. The film spectators’ conditioned states become eclipsed; thoughts collide in disbelief. Truth causes blemishes upon the surface of the film spectators’ brain. Alone, surrounded by the burning fires of truth, Ron Rice salutes the sun, as the spectators seek refuge. 1957 * Joseph von Sternberg has suggested that it is impossible to create a documentary film. Once the film-maker selects even a setting, or plans a composition — does any planning — the film ceases to be spontaneous; ceases to be a documentary. 20 FILM CULTURE in Ektachrome are individually handcolored as well. Homage to Jean Tinguely’s Homage To New York (11 min., B&W, sound). A subjective account of the construction and eventual destruction of Tinguely’s selfdestroying machine. Inner and Outer Space (5 min., color, sound). Animation connecting kinesthetic space with outer space. Blazes (3 min., color, sound). Frame by frame reordering of 100 basic images. Horse Over Tea Kettle (7 min., color, sound). Animated cartoon. Pat’s Birthday (23 min., B&W, sound). Live action fantasy in collaboration with Claes Oldenburg. 1960 1960 1961 1962 Ron Rice’s images in Senseless. His images become linked in a golden chain, and like the words of a poem they quarrel, dispute and seek their meaning through the joyous encounter of light upon imprisoned celluloid. Leaping like fantastic silver fish, the images in black and white, continuously accelerated, often soft, consistently graceful become ecstatic before the film spectators’ eyes. In rising and falling crescendo images of ugliness and torment are introduced suggesting a measure of contemporary life. Minutes and seconds no longer exist; precise meanings in this rich journey of symbol born of visions test the imagination of the film spectator. An image of a swarm of bees may, perhaps, denote false friendship. The image of the intestines of a bull may or may not denote compassion and affection? Ultimately the film spectator must select and prepare the itinerary of the filmic journey himself. If he fails to perceive any meaning whatsoever, then that particular film spectator is without a soul: a representative of twentieth century society. Or is it too much to demand an act of faith? To whom does Ron Rice offer his golden images; from what mountain peak has he descended like Zarathustra to revisit the city through his film, Senseless; what has he experienced during his act of faith, the filming of Senseless?