Cinematheque108 Presents: An Evening with Patrick Tarrant

September 22, 2015, 7:00 P.M.

The Ray Stark Family Theatre, SCA 108, George Lucas Building Lobby, USC School of Cinematic Arts Complex, 900 W. 34th Street, Los Angeles, CA 90089

Cinematheque108 invites you and a guest to attend

An Evening with Patrick Tarrant



Featuring a 55-min. screening of Tarrant's Films:

Everything Is Everyday
Brokenflo
Phi Phenomenon 2
The Take-Up

The Trembling Giant (work in progress)


Hosted by Dr. David E. James, PhD

7:00 P.M. on Tuesday, September 22nd, 2015

The Ray Stark Family Theatre, SCA 108
900 W. 34th Street, Los Angeles, CA 90089

FREE ADMISSION. OPEN TO ALL. RSVP REQUIRED.

About the Films

Patrick Tarrant will be screening four films and a work in progress in a program of approximately 55 minutes. Four of the films — Everything Is Everyday (2011), Brokenflo (2013), The Take-Up (2014) and work in progress The Trembling Giant — are shot on video, with Phi Phenomenon 2 shot on out-of-date 16mm film stock (to be screened digitally). This 100ft film will play in the middle of the program and serves as a hinge that signals a shift towards the latter experiment that involves shooting through the holes in a take-up reel as it gathers up unseen (but not unheard) found 16mm films. This technique grew out of an engagement with Ken Jacobs’ experiments with intermittent light and projection, but shifts that practice into the profilmic situation. Unlike Jacobs’s Nervous System and Nervous Magic Lantern performances, here the projector/propeller sits in front of the camera, but it nonetheless intervenes on objects distributed in depth to produce what we might call profilmic parallax projections.

Provided courtesy of the filmmaker. Not rated. Approximate running time: 55 minutes.

 

About Dr. Patrick Tarrant

Dr. Patrick Tarrant (Melbourne, 1969) is a Senior Lecturer in filmmaking at London South Bank University who has written on the feature length portrait films of Pedro Costa (Where Does Your Hidden Smile Lie?) and Ben Rivers (Two Years At Sea [forthcoming]). Patrick hopes to turn this work in to the first monograph on the portrait film, owing a great debt to Paul Arthur along the way.

Patrick has made his own video portraits and observational city films, while developing a hybrid filmmaking method that brings HD video and a 16mm film projector together (in The Take-Up and The Trembling Giant). Patrick's first 16mm film, Phi Phenomenon 2, screened at Experiments in Cinema and Analogue Recurring in 2015. This restaging brings the speed and force of an animated materialism to the otherwise calm place of Morgan Fisher's original. If Fisher’s film leaves unstated the idea that the film itself is, like the minute-hand of the clock, invisibly moving, then this remake seeks to refocus the spectator’s attention on the film’s visible movement, while once again leaving the minute-hand seemingly stranded.

Patrick has had films screened at Hong Kong, Melbourne and London Film Festivals, as well as at Anthology Film Archives, Images, Antimatter, Split, Chicago Underground and Leeds International Film Festivals. Patrick's installation Planet Usher: An Interactive Home Movie (2003) was exhibited at the Association of Computing Machinery (New York 2004), Sequences (London) and the Australian Centre for the Moving Image (Melbourne 2004).

FILMOGRAPHY:
Rows Do Reel (16mm, 2 mins - 2015)
Phi Phenomenon 2 (16mm, 3 mins - 2015)
The Take-Up (HD Video, 11 mins - 2014)
Brokenflo ( HD Video, 10mins - 2013)
The Mass Ornament (HD Video, 6 mins - 2013)
Hudson River Landscapes (HD Video, 9 mins - 2012)
Everything Is Everyday (HD Video, 10 mins - 2011)
Stepping Down (HD Video, 10 mins - 2010)
Slow Boat To Queens (SD Video, 7 mins - 2009)
Hubbub (SD video, 26 mins - 2009)

WEBSITE: http://patricktarrant.com
EMAIL: tarrantp@lsbu.ac.uk

About Dr. David E. James, PhD, Professor of Critical Studies

David E. James is on the faculty of the School of Cinematic Arts at the University of Southern California. He received his B.A. and M.A. degrees in English Literature from Cambridge University and an M.A. and Ph.D., also in English, from the University of Pennsylvania. He has held academic positions at the University of California, Occidental College, New York University, Korea University, Shanghai University of Science and Technology, the Beijing Film Academy, National Taiwan University, and Viet Nam National University, Hanoi. His awards include an NEH Fellowship for College Teachers, Rockefeller Foundation Fellowship in the Humanities at the Whitney Museum of American Art, an Academy Film Scholarship from the Academy of Motion Picture Arts and Sciences, and the Associates Award for Creativity in Research at USC; he has also been a scholar at the Getty Research Institute and a fellow at the Center for the Advanced Study of Visual Arts and the National Gallery in Washington, DC.

James is the author of Written Within and Without: A Study of Blake's Milton (Frankfurt: Peter Lang, 1977), Allegories of Cinema: American Film in the Sixties (Princeton University Press, 1989), Power Misses: Essays Across (Un)Popular Culture (London: Verso Books, 1996), and The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (University of California Press, 2006), and articles and reviews in PMLA, October, Social Text, Representations, Film Quarterly, the minnesota review, Grey Room, Art Forum, and other journals and periodicals. He also edited To Free the Cinema: Jonas Mekas and the New York Underground (Princeton University Press, 1992), The Hidden Foundation: Cinema and the Question of Class (Minnesota University Press, 1996), Im Kwon-Taek: The Making Of a Korean National Cinema (Wayne State University Press, 2002), The Sons and Daughters of Los:Culture and Community in LA (Temple University Press, 2003), Stan Brakhage: Filmmaker (Temple University Press, 2006), and Optic Antics: The Cinema of Ken Jacobs (Oxford University Press, 2011),  and has served on the editorial boards of Cinema Journal, Quarterly Review of Film and Video, Now Time, and Art Week. He has also published two books of poetry, and his films have screened at the Whitney Museum of American Art, the Los Angeles Filmforum and Canyon Cinema in San Francisco. His teaching and research interests currently focus on avant-garde cinema, culture in Los Angeles, East-Asian cinema, film and music, and working-class culture.

Check-In & Reservations

This event is free of charge and open to the public. Please bring a valid USC or State ID, or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 6:30 P.M.

All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status.

Parking

The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $12.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Ave. We recommend Parking Structure D, at the far end of 34th Street. Please note that Parking Structure D cannot accommodate tall vehicles such as SUVs. Metered street parking is also available along Jefferson Blvd.

Contact Information

Name: Alessandro Ago
Email: aago@cinema.usc.edu