|FILMS 4 out of 30 on the DVD
|GRIFFITI ARCHIVE (1969-2004)
30 FILMS ON GRIFFITI ARCHIVE
|HEAD. 1975, 10:30. A self-portrait of the animator, undone by his own cartoon surrogate. Using a wide array of techniques (flipbooks, stop-motion, altered documentary footage) this "anti-cartoon" explores the dim origins of animation, developed out of drawing, photography and magic. Its structure is discontinuous, non-narrative; its focus, self-referential; its aim, to re-examine the pioneering trickfilm processes of Emile Cohl with contemporary wit and irony. An example of the experimental spirit of independent animation of the 1970s. Music by Fred Israel.|
VIEWMASTER. 1976, 3:30. The pre-cinema Phenakistoscope inspired this film cycle of 8 drawings. A herd of running characters drawn in a hodge-podge of styles relentlessly orbit the axis of Muybridge’s running man. The restricted field of view allows us to discover odd relationships and transformations among the various figures. We can interpret them as we like. One pair of characters (a man cranking a box displaying a mechanical running puppet) was reflected, 33 years later, in Griffin’s DIGITAL MUTOSCOPE which allows the viewer to animate the speed and direction of the movement. Music by Harold Anderson.
|LINEAGE. 1979, 29:00. An anti-cartoon essay on the tension between formalism and sentiment, Lineage marks the end of Griffin’s period of overtly self-relexive trickfilms. By reclaiming the photocopy process it transforms the duplication of real time and space into a synthetic world of speculation where cartoon clashes with documentary. Here, the historical referent is Winsor McKay, the pioneering lightening sketch animator who bridged both worlds 70 years before. Sreet performance, material process, puppetry, and random marking cover the bed of emotion, however remote, seeking to assert itself. Music: Central Park carousel.|
A LITTLE ROUTINE. 1994, 7:00. As bedtime nears, a beleaguered dad and his headstrong 6-year old daughter re-enact a familiar ritual. Reading stories, tooth-brushing, tantrums, bedside singing, fear of the dark — all serve as catalysts for re-living memories of pain and love. Paying homage to the domestic cartoons of the Hubleys, this routine conversation of real people reflects the range of universal sentiments embedded in this most primal of human relationships. Music by Judith Gruber-Stitzer.
| AFTER GRIFFITI (2006-2009)
PAINS ME TO SAY THIS. 2006,
10:00. A cacophony of
hostility, guilt and redemption. Weaponized discourse.
A cartoon in multiple voices. Begins with a screening
of a 90-second story involving two stylized
characters, Ken and Celeste, who communicate only with
speech balloons, their actions described by an
omniscient, yet unreliable narrator. Cartooning as a
deadpan agent of self-reflection and invention,
dealing with concealed emotion, betrayal, and
redemption. The film employs a reduced pictorial
palette, angular edges, and sketchy linearity to shape
a self-portrait bristling with comic and disturbing
Music, Joel Forrester.
|MACDOWELL: A USER'S MANUAL. 2007,
14:00. An imagined documentary (one of a four part film,
"Seasons of MacDowell") celebrating the centennial of MACDOWELL COLONY.
Told through the eyes of a fictional character,
voiced by Ken Kobland, whom real residents welcome into
their studios to observe their working process.
Music, John McDowell.
|THE BATHER. 2008,
3:11. Re-thinking a flipbook as a voyeur and a
lover. A woman is observed showering
behind a translucent curtain. Gradually the view is
obscured by superimposed sequence of drawings of a
Moving through the overlapping images a string of
words suggests sources, motives and memories.
Music, J.S. Bach.
|YOU'RE OUTA HERE.
2009, 3:10. A "neo-soundie" of a feisty descendant
of Betty Boop who tells her former boyfriend to hit the
road. "A hilarious, high-speed blast of jazz with lyrics
and singing by Lorraine Feather, inspired by Fats
Piano, Dick Hyman
Produced by Lorraine Feather
Directed by George Griffin