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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 3: June 15, 1985 0 0-A (1982, projected slides) by Charles Lovell. "In this series of photographs," writes Lovell, "I went over ten years of old negatives and made prints of the most interesting frames which were before the first exposure on the roll of film. These images were shot haphazardly, while advancing the film toward the first exposure, and are uncomposed and unplanned." The photographs are being presented as projected slides, their order determined at random, and provide an interesting film-like work in comparison to actual projected films. MOLD FX (1980, 2 min., sound film) by Michael Rudnick. Processed home-movie footage lay exposed to moisture for ten years before Rudnick stumbled across it (by chance). During that time extensive mold had grown on the film, producing an almost profound commentary on the typical home movie that peeks out from behind the shifting ugly/beautiful mold. It is a "found object" in the Duchamp tradition since Rudnick's main contribution was printing the film for preservation, titling and then signing it. LEARNING TO BREATHE ABOVE GROUND (1982-84, approx. 20 min., film & performance) by Scott Stark. Layers several chance operations. It turns the film process on its head by using the two basic technological tools of film - camera and tape recorder - in a way that places the human performer virtually at their mercy rather than the other way around. Stark requested that three quotes be included in these notes: "The onset of capitalism can be traced to the onset of agriculture." - Malcolm Anderson, from The 20th Century Petroglyph "Lilacs and daisies, hornets and bees, telephone poles and color TVs. The long search has ended, the answer is found, we all are now learning to breathe above ground." - Judith Wicks, from "Vertical Shift" "The Lord be with you. (And also with you.)" - Roman Catholic Ritual COLLECTION (1982, 11 min., double-projection sound film) by Kathleen Laughlin. A two-projector piece, indeterminate in that the projectors are not synchronized, allowing chance interactions between the images. The work concerns a popular