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“The lyrics of America is Waiting: ‘Well now, you can’t blame the people—blame the government! Take it in again! Again! Again! America is waiting for a message of some kind or another,’ cued Conner for a strongly structured and richly varied piece which examines ideas of loyalty, power, patriotism and paranoia.
“Like most of Bruce Conner’s films, repeated viewings yield deeper layers of successive structures. America is Waiting is strongly composed of interlocking visual connections, emblematic content and a resonating ambiguity of the human condition within the constructs with which we confound ourselves.”—Anthony Reveaux
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“An anthem for the construction-weary: to sing along with the machinery, follow the rather agitated bouncing marks within the constricted frame, courtesy of DigSafe System, Inc.”—R.T.
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“A playful study of one of the world’s biggest and most ubiquitous visual clichés, and an attempt to reinvent it as a thing of problematic beauty. Overlayed on top of the imagery are snippets of an email exchange I had with a person who was and remains a staunch apologist for the Bush administration’s hundreds of lies leading up to the 2003 U.S. invasion of Iraq, as well as for the administration’s many other crimes, corruption and failings.”
(The complete transcript of the exchange is available at hi-beam.net/right.)
—S.S.
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“This film was shot with a still camera with 16 lenses, which takes a series of 16 pictures within 1.5 seconds, fitting onto two normal frame areas.
The film shows the sense of the event at Tokyo Racecourse, when it was holding the biggest race of the year, Japanese Derby (Tokyo Yushun). The excitement of each race lasts two minutes and 30 seconds.”—T.N
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“A consideration of the relationship of gravity and politics—the beauty and necessity of rising up, but also, perhaps, the significance of allowing oneself to fall. If the force of gravity is in relation to both mass and proximity, how does the force of politics resonate across space and time?”—C.K.
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“Nightparking records the imprint of industrial and suburban landscapes on their nocturnal inhabitants.”—G.S.
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“One of the nice things about movies was you could keep them at a distance. Movies knew their place. We were dimensional, they were flat, so it was easy to know which was which. But The Scenic Route seemingly spills from the screen, threatening demarcation lines everywhere.”—KJ
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“Shivery bits of elusive emulsion, refractive light sprays ignite the depths of two dimensions to expand the terrain of undulating forms. Vertical motion of frameless space testing the limits, Phantogram unites the torch and surface, forms made mobile. Indecipherable messages from the dead, a telepathic telegram captured on the medium of film…The “redblind” refraction of elements explored, expanding beyond the edges of the frame using sweeping gestures and textures both torn and tactile. Slippery shimmers slide across the celluloid strip, to embed themselves on the consciousness of viewers.”—KL
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“Is there, we ask, some secret language which we feel and see but never speak, and, if so, could this be made visible to the eye? Is there any characteristic which thought possesses that can be rendered visible without the help of words?”
—Virginia Woolf, The Cinema, 1926
“An experimental film structured as a kind of specialized playground in which highly representational images are freed from their duties to refer to things outside of themselves. The images run free in their new lightness making unforeseeable, promiscuous connections with each other and developing an inexplicable, non-parsable plot line that runs along with all the urgency of any good thriller. When worlds collude, something outside of description is always just about to happen.”—F.W.
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"'Horizontal Boundaries' is a film that looks at certain aspects of the geography of California as the ground for cinematic disruption and restatement. The "Boundaries" in question turn out to be frame lines, the divisions between two images, one above the other on a strip of 35mm film. The projector gate is adjustable up or down in order to produce a single uninterrupted image: in this film the frame line is integrated into the compositional language of the piece. It is not a static repositioning, but rather a dynamic one, moving more or less randomly, causing image combinations to be generated unpredictably. The result is a tapestry of exquisite contradiction." - P.O.
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Sun Oct 5: 6
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