No Place Like Home #1
No Place Like Home #2
In No Place Like Home #1 and #2 I began with Dorothy's red slippers. They allowed her to live out a fantasy in which she was the center of attention, strongly desired by forces both good and evil. She got to live in a surreal world, was lovingly attended to by 3 middle-aged men, she conquered evil and returned home safely. Questions arise. What happened to Dorothy's parents and why did she lack friends her own age? Strange.
Super-8 film. 5:00
"Repression breeds fine lines."
This is a basic "scratch" film- one of the ways in which film
celluloid has been physically worked on throughout the history of
experimental film. I cut in some ‘screaming holes¹ for a bit of
visual description/metaphor. The content is about child abuse--
parental misuse of power and disregard for a very young person¹s
healthy development. As a result of continual abuse, whatever the
form, all areas of that child¹s life are negatively affected.
"Lullaby" is a hard tape. It is seductive and sad at the same time. I
remember Madonna in the early 1980’s. I was young (pre-teen). Her music made
me feel sexy before I knew what sexy was and moreover, her music made me
hopeful before I realized (as most do as they approach/live through their
teens and beyond) that the world is a very difficult place. As an adult
woman, I often emote as I did when I was 11. This tape is a gentle homage to
that young girl. "Lullaby" reminds me how perfectly beautiful and at the
same time, perfectly mean life can be.
16mm film. 6:00
"Pornfilm" is a short film about love and sex. About the narratives
of each. A woman reads a brief story about an actor’s real life
marriages; failure and later ‘wedded bliss’. The reading is stiff,
awkward and stumbling. The images are of two actors having sex;
awkward, stumbling and with an investigatory band ping ponging back
and forth, an incessant watching and exposing .
Super-8 film. 20:00
Martina's Playhouse is my last Super 8mm film, made in 1989. I had
shot a lot with young Martina and her mother Diane over the years
and consider this film like the other Super 8s, a self-aware home
movie made with the complicity of the characters, knowingly shot
from a female-privileged perspective. The film is all improvisation
and long-take-- but with close friends who know what might be
interesting or how far
they can push the envelope.