23/04/2015

Jonas Mekas' WALDEN now available on VOD - HD streaming

"DIARIES, NOTES & SKETCHES - also known as WALDEN" (1969)

Poet and hero of the American counter-culture, Jonas Mekas, born in Lithuania in 1922, invented the diary form of film-making. WALDEN, his first completed diary film, shot between 1964-1969, is an epic portrait of the New York avant-garde art scene of the 60s and a groundbreaking work of personal cinema.



We are pleased to announce the release of an HD 1080p video version of "Walden", originating from a pristine 16mm print that was scanned in New York and tailor-compressed in close-collaboration with the Vimeo staff, to fit the modern demands of digital video streaming and at the same time remain truthful to the original 16mm film aesthetics. We have also added subtitles in French, Japanese and Lithuanian to help make this available to the public all over the world. Nevertheless, to fully appreciate the beauty of "Walden", we encourage you to seek out a 16mm projection of the film in a screening event near where you live.

"Walden" (three hours long) comprises a total of six reels, each marking an episode of approx. 30 minutes in length. The film can be rented as a series of six-episodes or as individual episodes. The author itself has once released it this way, in installements, and recommends it be watched sequentially, "like a Dostoyevski novel."  To help navigate the six reels, a visual map was conceived by Jonas Mekas to help the public identify the vast array of characters and stories appearing in the film. It is available here: http://bit.ly/walden_reels



P. Adams Sitney on Walden:

"After nearly thirty years Jonas Mekas' "Walden" looms as a central cinematic document of daily life in the New York community of artists during one of its moments of splendor. Although Mekas is neither shocking nor confessional, he has marked every moment of this very long film with the nuances of his own personality. In the grand array of characters, mostly unnamed, or identified only by a Christian name, -- although some others are internationally famous -- the only psychological portrait is that of the filmmaker himself: an exiled Lithuanian poet fascinated and tortured by his slow Americanization. The film is possessed by a nervous, staccato rhythm that repeatedly opens out into expansive raptures. 




The massive accumulation of images provided Mekas with a unique archive for constructing this visual diary, the first of many he completed. Watching it now, we can recover a sense of that place and time that no other film can give us. As a minor character, periodically passing before my friend's camera, I recognize how fragmentary and elliptical his representation of others can be, and yet these images have become for me the strongest visual indices of who I was thirty years ago. That may be the core of Mekas' art: in finding a cinematic form in which he could capture his changing moods without imposing a coherent mask of himself, he has made a work that lets others appear in their phenomenal ambiguity."  P. Adams Sitney (1997)

Michael Snow on Jonas Mekas:

"The autobiographical direction taken by Jonas in his films parallels that taken by Stan Brakhage in many of his 60s and 70s films and this cinema form remains profoundly radical. An artist, his camera and the life around him can furnish all that is necessary for rich and public works of art.

Construction in this form has nothing theatrical; it is a fusing of the camera gesture spontaneously called for, by and with the event being recorded. Sequences can be as shot or revised on reflection later. Montage can be "played" with the event or with the film strip in editing. I think that in general our memories are not seen in the mind's eye as novels but are more frequently fragmentary essentialist visions. 

The methods of shooting, frequently single frame, used by Jonas have logical connections. The camera is not an instrument of memory (the life in its images is dead). The latent poignancy of the preservation of glimpses of always-over life is thus emphasized. Jonas has spent most of his life in New York but pastoral longing is a strong sentiment in his film diary. The presentness of his images, in two senses, when the events they depict took place and when one, a living spectator, is seeing them is enriched by his unpictured past, often represented by the "pastoral." [...]

The historic importance of the personally made film has been bravely stated by his saying, with Anthology Film Archives, that such films ought to be carefully treated, collected and shown, that the achievements of the past nurture the continuity of creative personal uses of cinema. [...]" Michael Snow, Codroy, Newfoundland, August 1997

Check out our ever-growing selection of films available for purchase through our VOD platform on Vimeo. http://vod.re-voir.com

You will find here trailers and links to the films we currently offer, but be sure to check back often, as this selection of films will be growing. All of the titles we have on our VOD will still be available for purchase as a DVD that you can add to your collection. Our DVDs include extensive booklets and design elements that we hope will enhance your experience of the film. Feel free to contact us at info@re-voir.com if there are any titles you would like to see added to this list in the near future.

Happy viewing,
RE:VOIR

17/04/2015

Takahiko Iimura Early Film Poems 1962-1971

Takahiko Iimura
Early Film Poems 1962-1971

(6 films, color & black and white, sound & silent, 44 min, DVD NTSC/region free),
public price: 50.00 euros

The Pacific Ocean (1971) 7min. music: Akiko Samuwaka (2012)
Kiri (The Fog) (1970) 3min, silent
Honey Moon (1966) 7min. music: Akiko Samuwaka (2012)
I Saw the Shadow (1966) 7min, silent
Iro (Colours) (1962) 10min. music: Yasunao Tone (1962)
Dada 62 (1962) 10min. music: Haruyuki Suzuki (2012)


I made these six short films during a decade of 1962 through 1971, the first 10 years of my filmmaking though the order in the DVD goes backward from 1971 to 1962. Besides this collection I have already published another package of the films made in the 1960 "60s Experiments" consisted of four films made during 1962-64. The films of this new collection have not shown much during past decades and myself re-discovered lately these ones as a sort of "film poem." "Film poem" is a term used in the 1960 for experimental film burrowing from literature field. It means non-narrative and short form mostly. Also it often meant lyrical as well though not necessarily so. In this collection it starts from lyrical "The Pacific Ocean"(1971) and ends up not lyrical, "DADA62" which is descriptive and often metaphorical at the same time. Between them there are varied sense of poem. -(T.I) 

The Pacific Ocean (1971)
Shot on 8mm on the 12-day boat journey between Yokohama and San Francisco, Iimura's The Pacific Ocean consumes the anticipation and uncertainties of a voyage on waves with an obsessive attention on the ripples. An added score by Akiko Samukawa (2012) deepens the anxiety as it sinks in that we are no longer aware of the direction in which we are heading.
 

Kiri (The Fog) (1970)
Shot on 8mm on a mountain in Japan, the abrasive winds that drift the fog in Iimura's Kiri are so fierce we almost believe it to have grazed the filmstrip. The scratches, however, emerge as dust particles that submerge in and out of the mist. A comparative piece to Larry Gottheim's Fog Line (1970), Kiri shows rare patience in such situations.
   

Honey Moon (1966)
A touching portrait of his partner Akiko and the days following their wedding, Iimura's conceptual rigor loosens in favor of intimacy in Honey Moon.

I Saw the Shadow (1966) 7min, silent

A painting by Jiro Takamatsu
A precedent to Iimura's video work where he becomes his own subject, I Saw the Shadow sees Iimura follow his own shadow in and out of vision as he roams around streets, steps and fields. As the film progresses, it becomes increasingly unclear whether it is his shadow or camera that is guiding his steps.


Iro (Colors) (1962)
First projected onto Jiro Takamatsu's naked back at the legendary Sogetsu Art Center for the performance Screen Play, Colors is an experiment in concoction. Iimura drops paint into oil and water and melts wax as he films the colors take shape whilst simultaneously dissolving into one another. An eerie soundtrack by Yasunao Tone of Group Ongaku and Fluxus creates an impression of music being the witch behind the craft.
-Julian Ross, University of Leeds

Dada 62 (1962)
Yomiuri Independent was an annual show between 1949-1963 that exhibited all art that was submitted. Artists in the early 60s began to take advantage of the challenge by provoking the organisers with their submissions that cast a question on the framework of art within the gallery space. The objet d'art and performances we see in Dada 62 are fragments of what 
was shown in its 1962 version with pieces by Genpei Akasegawa, Jiro Takamatsu and Shinmei Kojima making an appearance.(In case of the performance in 1963, Iimura interpreted a graphic score by Yasunao Tone in his projection of the film at the Naiqua Gallery where he performed the projector as an instrument. As usual for Iimura, the piece is not simply a document but an interaction with the art he films.)
-Julian Ross, University of Leeds

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10/03/2015

New double DVD release: Jürgen Reble - “Das Goldene Tor” & "Passion" / Nouveau double-DVD de deux films de Jürgen Reble


still from Jürgen Reble, "Passion" (1990)

Re:Voir Video is proud to announce the new double DVD release of two films from Jürgen Reble, former member of the German experimental group “Schmelzdahin.” His works focus on exploring the film material through bacterial processes, weathering and chemical treatment during and after development.

This 2015 edition is a follow-up to Re:Voir’s original VHS release of his first solo feature, “Passion” (1990), a diary film which accompanies his unborn child through the seasons until his birth. The second film now available on DVD, “Das Goldene Tor” (1992) is a complementary piece that concentrates on the point of intersection of the alchemical elements.

Re:Voir Vidéo est fier d'annoncer le lancement du nouveau double-DVD de deux films de Jürgen Reble, ancien membre du groupe allemand expérimental "Schmelzdahin." Ses oeuvres se centrent sur l'exploration de la matière de film par les processus bactériens, l'érosion et le traitement chimique pendant et après son développement.

Cette édition 2015 est un suivi de la sortie en VHS par Re:Voir de son premier long-métrage solo, "Passion" (1990), un journal filmé qui suit son enfant à naître à travers les saisons jusqu'au moment de sa naissance. Le second film, enfin disponible en DVD, "Das Goldene Tor" (1992) est une pièce complémentaire qui se concentre sur le point d'intersection des éléments alchimiques.


still from Jürgen Reble, "Das goldene Tor" (The Golden Gate/La porte dorée)
 (1992)

The two films form one of the most impressive diptychs in experimental cinema, according to Olivier Schefer who signs a new critical text on Reble’s film art, in our 32-page bilingual accompanying booklet.

Not only were the films processed manually through extensive chemical means by the filmmaker, but have now been digitized frame by frame, in a very advanced scanning process, completely designed by Jürgen Reble himself to fit the physical needs of his very special film material. The DVDs were authored from these new high quality sources.

We are proud to present a digital edition that elaborates the concept of restoration, using modern instruments that respect and maintain the original philosophy of the medium.

Les deux films constituent l'un des diptychs le plus impressionnant dans le cinéma expérimental selon Olivier Schefer, qui signe une nouvelle appréciation critique sur l'art filmique de Reble dans notre brochure bilingue de 32 pages qui accompagne l'edition.

Non seulement les films étaient traités manuellement a travers des vastes processus chimiques par le cinéaste, mais ceux-ci ont été numérisés image par image, grâce à un processus de numérisation très avancée, entièrement conçu par Jürgen Reble lui-même, et qui s'adapte aux besoins physiques spécifiques à son matériau. Les DVDs ont été mastérisés à partir de ces nouvelles versions haute définition.

Nous sommes fiers de vous présenter une édition numérique qui élabore le concept de la restauration, en utilisant des instruments modernes qui respectent et maintiennent la philosophie originale du médium.

You can order the individual DVDs here / Commander iciPASSION & DAS GOLDENE TOR or as a special-priced double pack (le coffret des deus films).

The trailer videos for both film are available on our Vimeo Channel:






More stills from the Reble's films / Plus d'images de films:


Jürgen Reble, "Das goldene Tor"



Jürgen Reble, "Das goldene Tor"



Jürgen Reble, "Passion"