Directing
A film poem shot in San Francisco, Chicago, Los Angeles, Huntsville, Alabama and New York City in which missiles, bricks, huts, humanoid-types and people emerge from civilization's whimsical debris. The Apocalypse - now and after. The bomb is in YOU.
Second in a series of paper films made from strips of color Xerography. In these films, the filmmaker is concerned with the film as an object or motion picture "soft sculpture" constructed of 16mm-sized strips. The paper (or emulsion) could be a kind of skin complete with hair and pores, half-tone dots, paper fiber - through which the world is viewed.
Fauve is a paper film made by a unique paper process which I invented and have employed here as a monochromatic study of rhythm and mood and the physics of light waves leaving a source - one sees the red, or longest waves, first, the blue, or shortest waves, last, and in my film, one's left in the UV light world of peripheral vision. The original score by Peter Wetzler adds to the textural, tactile, visual experience of Fauve.
The splendor and pleasures of Autumn are the focus of this richly textured and brilliantly colored paper emulsion film. The sound is a recording of the filmmaker ripping, rustling and tearing various kinds of paper. These sounds have been synthesized and musically arranged to echo the imaging of the synthesis paper. A reel of paper and fallen leaves unwinds amid calls of birds and the laughter of delighted children.
A red camp film. The desert is for the birds? Surreal, but real. Originally shot in the '60s in Kuwait, this story of falconry has been rephotographed, re-recorded and re-edited to bring the sad zaniness of sport to the screen, in livid color.
The clown is set into motion by two unidentified persons lurking behind it, in the shadows. Oblivious, the clown embarks on its metaphoric life journey. The clown is only successful when a series of calamities bring about is demise, and ultimately, his death.
A red psychodrama about gambling. This found footage film, originally made by the Mormons as a morality film in the 1950s, has been re-edited to create a surreal world through which the characters pass in a trance-like state. The film exploits the original found object's faded emulsion, which is red; a hellish nightmare emerges.
A film by Donna Cameron
