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Cinematheque108 Presents: Geniune Fake Films by Gerry Fialka

January 17, 2013, 7:00 P.M.

The Ray Stark Family Theatre, SCA 108, George Lucas Building, USC School of Cinematic Arts, 900 W. 34th Street, Los Angeles, CA 90007

Cinematheque108 invites you and a guest to a special screening of

Genuine Fake Films by Gerry Fialka

Short films and interactive discussion, followed by a Q&A with Gerry Fialka, moderated by SCA Professor David James
7:00 P.M. on Thursday, January 17th, 2012
The Ray Stark Family Theatre
George Lucas Building, SCA 108
900 W. 34th Street, Los Angeles, CA 90007

"Gerry Fialka is a cultural revolutionary." - Michael Simmons, LA Weekly

"The multi-media Renaissance man” - LA Times

"(Fialka is a) Los Angeles-based independent media hero." - Holly Willis, RES Magazine


About Genuine Fake Films

EYE AM NOT A ROBOT (2009, 14 minutes)

Mark X Farina & Gerry Fialka's scintillating film probes the percept of technology "being alive" by evoking early Russian film and Constructivism. Cultural icons from James Joyce to Robby the Robot to Marilyn Monroe are your humanoid guides through new art technologies. Can machines surpass humans in the creative process? How are robotics restructuring patterns of social interdependence in Art, Science and Nature? Cine-poets Farina & Fialka reframe our collective compliance in anthropomorphizing media as art forms. In the spirit of McLuhan's mosaic writing, this collage film propagates mythic thinking, in the Jungian sense, where people mime cues from technology used by millions. By flipping the art museum video installation experience into media yoga, one can download morphic resonance into the nervous system as a Zen experiment. What is the future of art and artificial intelligence? See the likeness & difference in Anticipatory Mindfulness and Android Meme. Summon the impossible by examining what Derrida calls "the absence of presence." "The future of the future is the present." - McLuhan. "I wouldn't be seen dead with a living work of art." - Museum curator.


Farina & Fialka's vibrant film uncovers the hidden effects of advertisers as psychoanalysts and prophets in the science of the imaginary. Rube Goldbergian filmmakers Farina & Fialka satirize the adman's credo "create the disease and offer the cure." They look through ads like portals (port holes) unto a universe of media mindscapes and nuance. They question the simultaneity of great ads as myth. Fialka & Farina fuse an interpretive parable about the Wizard of Oz (Us) and the percepts of Marshall McLuhan to transform the very subject they are examining. Journey into familiarizing the ordinary. How are we immune to ads? Why? What are the critical connections between the rise of consumerism and our blind commitment to economic growth? "You can tell the ideals of a nation by its advertisements. " -Norman Douglas.

DOUBLE-DUTY INTERROBANG (2003, 10 minutes)

Fialka's pixelvision (Fischer Price toy video camera) short hoicks the "open past" while double delving into Giordano Bruno’s theory that everything in nature is realized through interaction with its opposite and Marshall McLuhan’s percept that "objects are unobservable, only relationships among objects are observable" simultaneously probing the option of "see-say" in moving pictures. "Do you hear what I’m seeing?" Examine McLuhan's main archivist Robert Dobbs as he reswindles Menippean memory with the new interrobang punctuation.


As agitprop archaeologists, Mark X Farina & Gerry Fialka's provocative film probes how the 50's music/comedy icons John Cage (noise as music, side effects in silence), Korla Pandit (the Hammond Organ as drum, fake identity), Lenny Bruce (speech as jazz, grievance), Ernie Kovacs (visual effects as Surrealism, Mennipean tactic of the "fourth wall") and Lord Buckley (narrative as living organism, elevation not put-down) laid the groundwork for contemporary culture jammers. They reinvented Beckett's "Nothing is funnier than unhappiness," and Steve Allen's "Behind every joke there's a grievance." Their reappearance offers new questions: Did the electric environment kill or save humanity? Did television renew the art museum? Why did James Joyce make TV the hidden ground in his 1939 book FINNEGANS WAKE? Can the banality of satellite-speed-up cause epiphanies? What have we forgotten about social amnesia? Who is jamming the jammers? Re-channeling George Melies and Marcel Duchamp, JAM Z JAMMERS reinvigorates and mirrors how these visionaries elevated self-irony to uncover the ambiguity and complexity of ecstasy and numbness. "The audience is the employer." - Marshall McLuhan. "I find TV very educational. Every time someone turns on a set I go in the other room and read a book." - Grouch Marx. "When you are laughing, you're learning." - Robert Dobbs. "Satire is tragedy plus time" - Lenny Bruce.

OUR EYE AYE (RIA= Resonant Interval Algorythmns) (2012, 3 minutes)

Social engineers Will Erokan & Gerry Fialka probe the filmed close-up on the human eye, as seen inUn Chien Andalou, Man With The Movie Camera, Frank Zappa's 200 Motels, and Blade Runner. Delve deep into the reel motives and consequences of the Ludovico treatment from A Clockwork Orange, which originated in the novel by Anthony Burgess, who was directly influenced by James Joyce's Finnegans Wake. The Wake turns the eye into an ear via Finneganese (language about language): "Television kills telephony in Brothers’ broil. Our eyes demand their turn. Let them be seen." and "what can't be coded can be decorded if an ear aye seize what no eye ere grieved fore." Experience the Erokan-Fialka "live cinema" immersion into post-hypnotic hyper-maximum stimulation triggering McLuhan's Menippean satirized Gesamtkunstwerk. Peter Greenaway presaged the complex clairvoyance of Erokan's birth on September 30, 1983 by declaring "Cinema's death date was 31 September 1983, when the remote-control zapper was introduced to the living room, because now cinema has to be interactive, multi-media art." The retrocausality of this non-existent date renders an effects-precede-causes half-truth. "A half truth is still alot of a truth" - McLuhan

I THINK I'M INTO SOMETHING (2012, 8 minutes)

Gerry Fialka and Clifford Novey’s Pixelvision short hybridizes beautiful dancers, psychedelic guitar and Alice Coltrane to the randomness of tube clown movements. "Mesmerizing to experience" - Noted film author Beverly Gray. Special "Live Cinema" version.

Director's Statement

Gerry Fialka explores the hidden psyche effects of human inventions. We look to the artists, the antennae of the race, to uncover these hidden environments. But why do we ignore them? His director statement encourages folks to use Marshall McLuhan's Tetrad, four questions one can apply to media: 1) What does it enhance or intensify? 2) What does it render obsolete or replace? 3) What does it bring back that was previously obsolesced? 4) What does it become when pressed to an extreme, what does it flip into? McLuhan defined "media" and "technology" as anything humans invent from clothing to computers, from language to philosophy, from toothpicks to cell phones.

His motives may also include:

* to find epiphanies in everydayness,
* to satirize info overload,
* to invent new questions, new metaphors: "Brother, can you paradigm?"
* to reinvent James Joyce's  "laughtears" and "feelful thinkamalinks,"
* to make people freer as Vito Acconci articulated in Financial Times 11-17-12.

SPECIAL THANKS to Fialka's collaborators: Mark X Farina, Suzy Williams, Robert Dobbs, Will Erokan

About the Guest

GERRY FIALKA - Paramedia Ecologist, Genuine Fake Filmmaker, Reality Performance Artist

Visit his Official Websites: & & contact: 310-306-7330



PXL THIS Toy Camera Film Festival:

Fialka-curated film series: and

Fialka's MESS interview series:

Marshall McLuhan - Finnegans Wake Reading Club:

About the Moderator

DAVID E. JAMES, Chair/Professor of Critical Studies, USC School of Cinematic Arts

Taking any of David James' courses including History of the International Cinema and Cultural Theory, students have the distinction of learning from a professor who has achieved particular renown as an authority in Asian cinema and avant-garde cinema.

Dr. James has expanded and enriched the cultural scene in Los Angeles, curated countless film programs, worked on museum exhibitions, produced his own film work and published extensively in the arts and popular press, including his latest book The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles.

James’ awards include an NEH Fellowship for College Teachers, the Rockefeller Foundation Fellowship in the Humanities at the Whitney Museum of American Art, and the USC Associates Award for Creativity in Research.

He is the editor of To Free the Cinema: Jonas Mekas and the New York Underground as well as The Hidden Foundation: Cinema and the Question of Class, and has served on the editorial boards of Quarterly Review of Film and Video, Now Time, and Art Week.

About Cinematheque108

Cinematheque108 is an alternative screening series sponsored by the Critical Studies Department at the University of Southern California's School of Cinematic Arts. The series offers a rare selection of events that highlight noteworthy experimental, documentary, and/or foreign films, many of which can not be seen anywhere else. Cinematheque108 is an educational forum that aims to expand understanding of alternative film and media. All screenings are free of charge and open to the pubic.

About Parking

The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $10.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Avenue. We recommend parking in outdoor Lot M or V, or Parking Structure D, at the far end of 34th Street. Please note that Parking Structure D cannot accommodate tall vehicles such as SUVs. Metered parking is also available along Jefferson Blvd.

Contact Information

Name: David James