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1991 Program Notes The Life Experience Behind the Making of the 7Vper Tvger Trilogy I think this trilogy is about regeneration—physically, I was pregnant, gave birth, and raised a small child while I was making the trilogy...It was a most amazing experience, I wanted to reorder and record it, the process and the haunting of it. Fauve, the first film of the trilogy, is about the formation of the "wild film creature." It is a contained, womb-like environment. The picture moves fluidly in its concavo-convex (really the lens of my printer) environment. It is controlled by monotones visually, and the sound is composed and contained on a synthesizer. In the central film, Tyger Tyger, the film creature is given its freedom and moves into a vitality and totality of filmic being—images beget images, framelines spew frameless lines, film surfaces appear to breathe, it's as though you're watching the movement of a huge film creature, noting its skin textures and the landscape of its being. This is an unsafe, scary film in the sense that it represents total artistic freedom—there is no safe retreat, i.e. sound, plot, character, or the absence thereof. There is no conventional film punctuation. It is like a young child, demanding and dependent upon the viewer, and marvelous in its unpredictability. The third film, Joshua Tree, introduces music again, this time moody, liberated phrases of contemporary instrumental sound. The picture is again the Tyger Tyger imagery and paper, but includes the more conventional photography that inspired rhythms and passages in Tyger Tyger and Fauve. In this film the wild film creature is guided through the landscape of itself holding onto this fearful musical companion, the soundtrack. The soundtrack, composed to exist simultaneously and extemporaneously with the picture, does not illustrate it emotionally or give feeling guidelines as in Fauve. In this film the tyger (footage and all) meets its mirror image, underlies its physical limits and becomes the burning Tyger Tyger —the creature caged in its own mythology, pacing its way to an inevitable end. To me, this film is about the haunting, which is a strange and unreachable memory of my childhood, which is an angelic native remaining through all aspects of my life. It is the Tyger Tyger which is hope , in its sustaining form. —Donna Cameron Note: "The Edited Coat," created by Los Angeles artist and designer Susan Nininger will be worn by the filmmaker. "The Edited Coat" is made exclusively with the film materials used to make the 16mm film, Fauve, including soundtrack, negative, and protected handmade emulsion. Mike Kuchar is a legendary underground filmmaker. He most recently worked as cinematographer for Rosa von Praunheim on a two-part documentary about AIDS (Positive and Silence=Death) which was produced for German television. Donna Cameron Filmography: Newsw (1980) Unicorn (1980-86) Dracula and the Babysitter (1986) Joshua Tree (1986) The Superweapon (1987) Mew Moon (1981) End (1981) The Chinese Lunch (1988) The Falcon (1988) Fauve (1990) 77