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The Foundation for Art in Cinema CINEMATHEQUE The regular Bay Area showcase for personal and avant-garde film. CHANCES IN TIME Random Operations in Film Program 2: June 8, 1985 HIGH KUKUS (1973, 3 min., sound film) by James Broughton. A single shot of the surface of a pond in a field. It sounds simple, and it is. But what an array of activity occurs in this three-minute take. This is a classic example of the filmmaker giving himself over to external events, for Broughton had no control over the film except for when to turn the camera on. An illustration of the virtues of Zen patience, it also features Broughton on the soundtrack reading fourteen of his humorous haikus (thus the title). As he writes in the print version of High Kukus , "Wherever you make your home, said the Louse, is the center of the world." MOTHLIGHT (1963, 4 min., silent film) by Stan Brakhage. Created by securing moth wings and plants between two strips of clear tape, all of which were thin enough to allow light to pass yet still show intricate texture. The projected film, presenting as it does segments and abstractions of what is recognizable as remnants of once-living beings, has a poetic beauty somewhat mit- igated by the constant reminder of death. The wings and leaves are all "found objects" employed by Brakhage as is. He also had no specific control over what the film would look like, frame by frame, when projected. KU (1981, 13 min., film & performance) by James Irwin. Performance by Ellen Ezorsky. A combination of random operations in both the creation of the film and in the final presentation. A film of obscure images is projected behind a performer who speaks of everyday occurrences of psychic phenomena and tales from the gray area between causality and coincidence. The projected film is itself a sort of pictorial oracle, reminding us that, as Jung suggested, individual translation of random operations can often serve as a psychological inkblot test. "Ku" is the 18th hexagram of the I Ching , translated in the Wilhelm/Baynes version as "Work on What Has Been Spoiled". CHANCE FILM (1969, 12 min., sound film) by David Heintz. Several methods of chance were used: coin tosses, cards, and dice. These oper- ations determined most important choices in the planning and editing of the film, including type of image, camera technique, subject, and the soundtrack. There are a number of moments where segues or double-exposures give remarkable combina- tions. Heintz says such moments were truly a matter of chance: "We were quite astounded to see the finished film and how well many aspects worked together and in sequence."