PXL THIS TWELVE, the twelfth annual festival featuring videos made with the PXL-2000 toy camera, will premiere on Saturday, November 9, 2002 at 7:00 and 9:00 pm (two different shows) at Midnight Special Bookstore, 1318 Third Street Promenade, Santa Monica, CA 90401, 310.393.2923.
Free Admission. The PXL THIS website is www.indiespace.com/pxlthis
PXL THIS TWELVE screened SAT. APRIL 26, 2003, at 8PM at Other Cinema, 992 Valencia St. San Fran, www.othercinema.com
PXL THIS TWELVE, the twelfth annual festival featuring videos made with the PXL-2000 toy camera, premiered on February 2, 2003 at 8:00 pm at VIDIOTS, 302 Pico Blvd, Santa Monica CA Free Admission. 310-392-8508 (all shorts listed below will be shown except #18, 26, 27) The PXL THIS website is www.indiespace.com/pxlthis
PXL THIS TWELVE highlights include:Eli Elliott's eye-opening PXLMATION is the first ever Pixelvision animation. Ellen Lake's RUBBER BAND BALL documents San Francisco's Kishek brothers' quest to build the world's largest rubber band ball. Clark Nickolai's REMGLA PREPUTCHNA unveils a recently-discovered "lost" instructional film from Eastern Europe. John Snyder's LOCALS is a tribute to the everchanging face of Venice, California. Inspired alternatively by the writings of Pope Gregory and Seventeen Magazine, Dwight Swanson's LUST examines the joys and dangers of immorality. NOT UNACCOMPANIED BY A CHILD finds avant-garde pacifist Phil Chamberlin dealing with a concerned Mother (Lisa Robins & her daughter Renata) and playground rules. Michael Possert's HOLLYWOOD OPERATION is an outrageous TV commercial spoof for a kid's board game. Eliot Fons & Tedi Tate's INTEGRATRON explores Palm Desert's big wooden dome, originally constructed as a cell-regenerator, time machine and! spaceship beacon. Denny Moynahan goes live in QUEEN KUKULELE. Blueswoman Victoria Gibson wails GOSPEL IN THE BLUES. Eugene Gonzales gets LOST IN A DREAM walking his dog. Stacy Craft’s DOWN THERE is about growing up to be the bad girl everyone scorns. Steve and Ross Craig’s ART HACKS BABBLE toys with the "art question" as it alternates between realism and abstraction, organized structure and chaos. Gerry Fialka’s WHAT HAVEN’T YOU NOTICED LATELY? hoicks the "open past" while double delving into Giordano Bruno’s theory that everything in nature is realized through interaction with its opposite and Marshall McLuhan’s percept that "objects are unobservable, only relationships among objects are observable" simultaneously probing the option of "see-say" in moving pictures. "Do you hear what I’m seeing?" Future Bible Heros bring the music out of the dark in Duncan Macleod’s HOPELESS. Bryan Konefsky’s ALBUQUERQUE DIARY documents an uninvited street performer upstaging the other acts! in the annual Route 66 Santa Claus parade. Doug Ing’s DIP overflows in a surreal dream involving a tub and a telephone. Robin Carter’s SONG OF THE AURORA is an expose on the sun-earth connection via the magnetospheric sounds and images of the Northern Lights. Anthony Temple’s EXITING THE TATE considers Goeffrey Sonnabend’s theory by sampling images created within the realm of memory and reorganizes them into a stronger semblance based on repetition, obscuring, and juxtaposition. Elric Kane magically merges John Zorn music and abstract video feedback in COMBINATIONS. ELI ON ERNIE is Eli Elliott’s irreverent take on Ernie Kovaks’ television skit "The Nairobi Trio." Joanne Wallace’s autobiographical DAIRY addresses the boundaries of fiction and actuality. Jesse Seay’s DROWNED explores the desires of what the audience wants to see and lessons on looking foolish. David Teague’s BIRD SONGS IN YOUR GARDEN surveys the sounds of Ornithology. Jenette Isaacson & Bryan Konefsky con! template textures in WHAT WILL I DO. Peggy Ahwesh & Margie Strosser’s STRANGE WEATHER deals with a quartet of crack addicts in Miami, just sitting around, while outside the biggest hurricane of the century is about to hit. The mystery of "how real is it" becomes the focus of this "insider perspective" or privileged access into fringe culture.
Film programmers and curators - please be aware that 3 different PXL THIS programs (90 to 120 minutes each) are available for rent by contacting Gerry Fialka, phone 310-306-7330 for details and be sure to leave your phone, fax and mailing address if you get his phone machine. These 3 programs are BEST OF PXL THIS (the first 10 years), PXL THIS TEN and PXL THIS ELEVEN. They have screened successfully in San Fran-OtherCinema.com, the Ann Arbor Film Festival, New York-rbmc.net, Vancouver-blindinglight.com, Irvine,CA, Austin,TX, Albq., NM, Seattle, Eugene and Portland,OR. These are truly dynamic shows of low-tech video folk art that can draw big crowds.
Clap Off They Glass presents PXL THIS TWELVE
1- QUEEN KUKULELE - Denny Moynahan, 5 minutes
2- HOLLYWOOD OPERATION - Michael Possert, 1m
3- NOT UNACCOMPANIED BY A CHILD - Phil Chamberlin, 5m
4- SONG OF THE AURORA - Robin Carter, 5m
5- DOWN THERE - Stacy Craft, 1m
6- RUBBER BAND BALL - Ellen Lake, 3m
7- ART HACKS BABBLE - Steve & Ross Craig, 9m
8- WHAT HAVEN’T YOU NOTICED LATELY? - Gerry Fialka, 5m
9- HOPELESS - Duncan Macleod, 3m
10- PXLMATION - Fialka & Elliott, 1m
11- LOCALS - John Snyder, 5m
12- GOSPEL IN THE BLUES - Victoria Gibson, 2m
13- ALBUERQUE DIARY: 12-23-01 - Bryan Konefsky, 4m
14- DIP - Doug Ing, 3m
15- LOST IN A DREAM - Eugene Gonzales, 5m
16- BIRD SONGS IN YOUR GARDEN - David Teague, 4m
17- WHAT WILL I DO - Konefsky & Jenette Isaacson, 4m
18- DAIRY- Joanne Wallace, 15m
19- EXITING THE TATE - Anthony Remple, 7m
20 - LUST - Dwight Swanson, 7m
21- INTEGRATRON - Tedi Tate & Eliot Fons, 5m
22- COMBINATIONS - Elric Kane, 4m
23- ELI ON ERNIE - Eli Elliott, 5m
24- DROWNED - Jesse Seay, 12m
25- REMGLA PREPUTCHNA - Clark Nikolai, 2m
26- SLICE OF CAKE - Paul Bacca, 5m
27- STRANGE WEATHER - Peggy Ahwesh & Margie Strosser, 50m
COTG is always accepting entries for future PXL THIS festivals. For info send SASE: PXL 2427 ½ Glyndon Av, Venice CA 90291, 310-306-7330. MUCHO thanks to everyone who helps. Vidiots (310-392-8508) rents various PXL THIS compilations and will screen PXL THIS TWELVE on Feb 21, 2003. PXL THIS web page - indiespace.com/pxlthis
PXL THIS TWELVE highlights include:
In Betsy Kalin's ANTHEM, women celebrate an empowering feminist classic.
Eli Elliott's eye-opening PXLMATION is the first ever Pixelvision animation.
Ellen Lake's RUBBER BAND BALL documents San Francisco's Kishek brothers' quest to build the world's largest rubber band ball.
Clark Nickolai's REMGLA PREPUTCHNA unveils a recently-discovered "lost" instructional film from Eastern Europe.
John Snyder's LOCALS is a tribute to the everchanging face of Venice, California.
Inspired alternatively by the writings of Pope Gregory and Seventeen Magazine, Dwight Swanson's LUST examines the joys and dangers of immorality.
NOT UNACCOMPANIED BY A CHILD finds avant-garde pacifist Phil Chamberlin dealing with a concerned Mother (Lisa Robins & her daughter Renata) and playground rules.
Michael Possert's HOLLYWOOD OPERATION is an outrageous TV commercial spoof for a kid's board game.
Eliot Fons & Tedi Tate's INTEGRATRON explores Palm Desert's big wooden dome, originally constructed as a cell-regenerator, time machine and spaceship beacon.
Also another gem from Denny Moynahan, the Ernie Kovacs of Pixelvision and much more.
Established in 1991, Clap Off They Glass Production supports independent video-making by sponsoring the annual PXL THIS Festival, which is the oldest of its kind in the world. With no corporate sponsors, no color brochures, no big shot movie director board members, no ticketmaster access, PXL THIS has been featured on PBS, IFC and NPR. RES magazine praised PXL THIS as "a welcome highlight in the Los Angeles media scene celebrating the rich lexicon available in a tool which might initially seem rather limiting."
PXL THIS spans many genres: documentary, poetry, drama, art, music, political activism, cinema povera, comedy and the avant-garde. The unique Fisher-Price toy camcorder PXL 2000, which records sound and image directly onto audio cassettes, continues to empower artists. This failed toy was only made in the US from 1987 to 1989. The magical PXL 2000 restores a certain humanity to the overpowering technology of video. "PXL is the ultimate people's video."
- J. Hoberman, Premiere Magazine.
"All the PXL THIS videos reflect festival organizer Gerry Fialka's commitment to the freedom produced by making art without financial constraints."
- Holly Willis, LA Reader.
"In past years, PXL THIS gave us some fascinating work...definitely an out-there experience. In the last few years, PXL videos have made it to such hallowed domains as the Whitney Museum of Art, the Museum of Modern Art, Sundance, and the London Film Festival, where they have been admired for their characteristic spontaneity, highly personal perspective, visual uninhibitedness and raw, grainy truths."
- Mary Beth Crain, LA Weekly.
"PXL THIS is worthy of praise...spellbinding. The shifting bricks of light and dark that form the Fisher-Price PXL 2000's picture lend themselves well to personal essays, creating an invigorating mesh of ambiguity and intimacy in every frame."
- Paul Malcolm, LA Weekly.
"Gerry Fialka's PXL THIS festival snaps, crackles and pops off the screen with the funky, user-friendly energy of real first-person cinema. Goofy, gorgeous, and altogether groovy, his provocative program of pieces produced with the Fisher-Price PXL 2000 toy video camera is not only downright entertaining, but more, its blipping and buzzing black 'n' white picture-bits coalesce into a veritable inspiration to all those who cherish the playful, spontaneous gestures and low-cost of electronic folk art."
-Filmmaker/curator Craig Baldwin.
Mary Beth Crain wrote in the LA WEEKLY, "The power of PXL is somehow indisputable. The medium becomes a means of alchemically altering the most mundane realities. Blurred, off-kilter black-and-white images transcend mere out-of-focus mediocrity to become captivatingly surreal. Body parts (eyes and mouths are favorites with beginning PXL artists) acquire personalities of their own. Virtually every selection on the PXL THIS program evidences an undeniable charm and talent." Jean Cocteu said, "It is vital that the camera become a pen and that everyone should be able to express themselves through this visual medium."