Bruce Posner

2.55:1 color silent

1.33 color b/w silent

2 projectors 1:33 2.55 b/w silent

2 projectors 1:33 2.55 color b/w silent

"The film acts as an epithet for what everyone knows about our meager place in the universe. Succinctly stated in Jack Arnold’s "The Incredible Shrinking Man" (1957) and loosely ad-libbed by me in an inspired Cageian manner via a pompous (but difficult to produce) single-frame optical pan traversing the lofty soliloquy. The toilet paper in the bare autumn tree was encountered early one morning outside the school of the Art Institute of Chicago on Columbus Drive. With eclair and 12-120 zoom in hand, it was a no brainer. The combinations illustrate a mocking attitude that is much in line with most Hollywood expressionism, lofty ideals via a crass medium."

Documentation of Sonia Landy Sheridan and Aldo Tambellini in conversation with Bruce Posner.

According to director Bruce Posner, “The three parts developed over a year period of intense study during the mid-1970s. It sort of began and ended my dependency on ‘high-tech’ equipment to make films and led me through the equally intensive parameters of what motion picture film could reproduce on a visceral, detail-oriented level. In contrast to the high-end 2K digital technology used to restore ‘Manhatta’ and ‘Ballet Mechanique,’ I learned filmmaking decades earlier on a 35mm Oxberry beam-splitter, multi-head, aerial-image bi-pac optical printer — a dinosaur by today’s standards and all hand operated prior to the advent of computer-assists, this machine was precise and exact to the frame. ‘S&J: Pt. 3’ took 26 hours to shoot straight thru without one mistake.”

2 projectors/screens, color, silent

A color and sound film

2 projectors 1:33, 2.40 color/bw, silent

1.33 color b/w silent

Original 4 projector piece with colored filters transcribed to 35mm film by Pat O’Neill and transferred to 1080 HD digital. "The middle film in a trilogy, ‘ORGASAMATIC’ [the ‘a’ placed intentional between the ’s’ & ‘m’] picks up where ‘Sappho and Jerry’ ended in 1978, and ‘Mona Lisa Smiles (Again and Again)’ concludes in 2015. Moving away from the high-tech optical printing of ‘Sappho and Jerry’ led to the hand-printing and self-processing of films that were then screened on multiple projectors onto multiple screens. ‘ORGASAMATIC’ is the most extreme of these hand-made films in that the imagery is comprised from 35mm still picture negatives that depict persons on fire, children and men I knew that burned repeated times in real life and on film.” - Bruce Posner

Kenneth Anger edited his own version of Sergei Eisenstein’s unfinished Mexican reverie, and even showed it at a festival. Alas leaving no trace of the object. Bruce Posner, now, created his own multi-screen variation on the story that lyrically compares moments from ¡Que Viva Mexico! with scenes from Anger’s avant-garde axiom Scorpio Rising.

BE SIMON CHECK EDIT 21 8 30

1.33 b/w silent. Music by anonymous street cantor & Malcolm Goldstein

The film grew out of the home movies made by my father and then by me. Led to one of the first optical printer films produced at The Florida Optical House, Miami, and shot by Albie Krieger. Combines Reg 8mm, 16mm and 35mm with most derived from 16mm. the sources and content are obvious, with the overall experience somewhat unresolved. tho the ending is explicit and direct. hence "the quickie version" title for a film that has been reworked in differing versions and number of projectors and screens. (Bruce Posner)

35mm 1.33 color silent

“Aged in Wood” (a Christmas gift for my friends and loved ones… ) 1947, 1974, 1975, 2011, 2020, 16mm 24 fps, 1:37:1, to 2K DPX 10bit 4:3 to 16mm, clr, silent, 4:24 mins.

A report from the field (Dartmouth College) on July 25, 2020 with update posted August 21, 2020

1:33 color b/w silent 24/16fps. Music by Duke Ellington 1956, 1999; 2-channel stereo collage by Posner 2018.