Pressure System: an evening with filmmaker Glen Fogel > Woodland Pattern

Woodland
Pattern™

Book Center

Experimental Film and Video

Thursday, September 25, 7pm, $2
Woodland Pattern Experimental Film/Video series
Presented by the UWM Department of Film
720 East Locust Street, Milwaukee

Pressure System: an evening with filmmaker Glen Fogel

New York filmmaker Glen Fogel presents a selection of his Super 8, 16mm, video/film hybrids and double projection performance pieces.

Titles will include:

Reflex (16mm blowup from Super 8, color, sound, 3:30 min., 1999);

Pressure System (Super 8, color, sound, 7 min., 2000);

Endless Obsession (16mm blowup from Super 8, color, sound, 5 min.,2000);

Control Sequences (Video and 16mm blowup from Super 8, b/w and colored gels, superimposed film and video projection, sound, 6 min., 2001);

Release System (Video and 16mm, color, superimposed film and video projection, sound, 6 min., 2003);

Ascension (16mm, superimposed film and gelled light projection, color, sound, 6 min., 2001)

Coming Home (Super 8, color, sound, 1:30 min., 1999)

Airport Architecture (Super 8, color, sound, 15 min., 2001. The sound is recorded from a live performance with musicians James Hoff and Greta Cohn)

"Distinguished by their hermetic intensity, formal control, and anxious, immersive soundtracks, Fogel's films push emotional extremes to the point of abstraction. In the double projected Control Sequences, a disorienting, Ken Jacobs-like magic lantern environment reveals itself at the site of an erotic suffocation. Ascension presents ecstatic materialism as a chromatic shock to the system; appropriating scenes of wild joy from The Price Is Right game show, Fogel double projects his contestants into an extraordinarily vivid red/blue purgatory where hysteria blurs into rapture - these colors are definitely broadcast unsafe. Respite from these anxious states can be found in the meditative modulations of Coming Home and Airport Architecture. Whatever else might be said of the later, a fugue-like progression of soothing symmetries, it stands as one of the last—and certainly most beautiful—documents from the vanished era when a lone, inscrutably motivated filmmaker could photograph an airport with impunity."
—Nathan Lee, Film critic New York Sun

presented by the UWM Film Department
sponsored by the Milwaukee LGBT Film/Video Festival

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