Joseph Bernard

"#5 from a series of 7... A dance leading to a dance. Super 8, silent, non-narritive."

“An interior, edited in-camera portrait of Jessie Sarafina Bernard, in late afternoon summer sun. Warmly regarded.” (J.B.)

Non-narrative film, highly manipulated: tape-over-frames, ink-tinted, bleached and drawn into. As a montage, abstractly and rhythmically intense. Super-8, silent, color, b&w. Dedicated to Bill Gubbins.

Whale Watch (1) gathers personal sightings while on a public outing, in the company of the great mammals off Cape Cod. – Joseph Bernard

Shot weeks apart, I made two films of personal sightings while on public outings, in the company of the great mammals off Cape Cod. Like icebergs, very little of their bulk, beyond shimmering back and a rearmost dorsal fin is visible as they glide the surface. These forty-ton humpbacks power dive with a grace and purpose that had me conjuring their descending views; diminishing jagged streaks of light into plummeting depths of darkness.

“A percussive conjuration of a banshee wail, imploring warmth from the winter’s sun, this was naively made in admired response to Mothlight.” (J.B.)

“Shot at a Bohemian crematorium outside Chicago, this self-viewing at work makes metaphoric reference to the location and process of cremation. Still photos, drawing, bleach, inks & silver tape were used to ‘move heaven and hell’, all from the vantage point of a devout atheist.” (J.B.)

“If there’s a film of mine that makes the case for multiple viewings, it’s (Reel #2). This has to be seen several times to be seen at all. The transition from filmmaking back into painting is here in the ‘props’ — 2″ clear tape strips of gorgeous debris (thread, film & petals) which later joined and grew into wall hangings, then eventually paintings. This is the level of metrics, the visual resonance I was always chasing.” (J.B.)

“A muffled dream state; slow, soft focus nudes and repeating red ocean waves.” (J.B.)

“A simplistic analogy of obvious disparities between these two masters that I concocted on the beach in Provincetown. As a disclaimer: my filmed comparisons relating H.F. & S.B. should in no way be construed with the quality or intentions of these high priests of filmmaking. Just koaning around.” (J.B.)

Spectrum and prism divide the screen; whites and light, etc. "Out of this purity comes all colors. I've always been attracted to refracted light and prismatic phenomena" says Bernard. For Richard Devereaux. Super 8, silent, non-narrative.

"This homage to structural filmmaker Paul Sharits, was made by re-photographing thousands of cement splices, then arranging them into four movements. The continuous image of the splice bar implies an almost dream-like landscape/ horizon line. I met him shortly after completing the film and gifted a print, which he responded to favorably. Super 8, silent, experimental."

"Bach implied; splice-free, light, airy, soft-focus reflections out the back window of a car returning from the beach on a perfect summer's day. Super 8, silent, non-narritive."

"A declarative and somewhat facetious circular text weaves through many sampled versions of what "film" might be, i.e., home movie, Hollywood, training, documentary, newsreel, sports, abstraction, etc. Shot in b&w and silent, yet two more categories. Along the way, this film provides an identity of its own. Super 8, silent, experimental."

"My attempt to repeat 'success'...this was the companion follow-up to RITUAL. Both films are densely compressed and they opened up many more options for future work. Super 8, silent."

"Totally under-exposed 35mm slides of African maps were drawn over by a 10 & 12 year old. The slides, with their emulsion-scratched images, were then rephotographed... as a wonderful collaboration."

A film by Joseph Bernard

This is a shortened version of a three-movement film made over a summer’s stay in Provincetown, MA (Cape Cod), first alone, then with family. A journal of sorts, it renders the place with obvious affection. The town remains today, to an amazing degree, as it appears in this film from decades ago.

"Beyond much single frame shooting, ICON, an early film, allowed for the use of cropped stencil letters as abstractions and the idea of bringing my painting sensibility and tools to film. Super 8, silent, experimental."

“620 Commercial is the street address of an old house in Provincetown. This is literally a ‘reflective’ portrait of that house — all shots are from the surface of, or through, weathered windows, glass doors, a framed photo. On this particular summer day, the wind gently moves those glass partitions as light, flowered foliage and people pass by.” (J.B.)