Genevieve Yue Presents: Implicit Movies Program 2: Close Encounters
Director: Various dirs.
1983-2020 / TRT: 84 min
An Image: In German with English subtitles; Hidden: In Farsi with English subtitles
Intro by Genevieve Yue
Last screened on Tue, Mar 30
The unseen can often be heard. It travels around corners, in musical refrains across wide distances and in the quiet shuffles on set before shooting commences. Sound can anticipate the shape of the image that will arrive; it can also conjure what we can scarcely imagine. Sometimes a voice still has the ability to startle us. Thanks to MM Serra/Film-Makers’ Coop, Amanda Jamieson, Jana Silverton & Rosa Chung/David Kordansky Gallery, Elise Cochin/MK2, Antje Ehmann/Harun Farocki GbR, and all participating filmmakers.
We Are Going to Record (Peter Snowdon & Juan Javier Rivera Andía, Belgium, 2013, 11 min) In Cañaris, a region in the Peruvian Andes, villagers prepare to perform traditional music for an increasingly frustrated sound recorder.
An Image (Harun Farocki, Germany, 1983, 25 min) “Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film, part of a series I’ve been working on since 1979. The television station that commissioned it assumes in these cases that I’m making a film that is critical of its subject matter, and the owner or manager of the thing that’s being filmed assumes that my film is an advertisement for them. I try to do neither.”—Harun Farocki
Mansfield 1962 (William E. Jones, USA, 2006, 9 min) In 1962, the Mansfield, Ohio, Police Department photographed men having sex in a public restroom under the main square of the city. A cameraman hid in a closet and filmed the clandestine activities through a two-way mirror, and the resulting movie was used to obtain the sodomy convictions of over 30 men. The Mansfield Police later used some of the footage to produce an instructional film for law-enforcement circles. A degraded version of it found on the Internet was reedited to make Mansfield 1962, a haunting, silent condensation of the original.
The Color of Love (Peggy Ahwesh, USA, 1994, 10 min) A found pornography film, ruined by mold and decay, in which the image of sex competes with the deterioration that obscures the frame. The Color of Love is an inverted strip tease, where instead of a gratified viewer it is the two women in the image, pleasuring each other over the unmoving body of a man, who keep their photochemical secrets to themselves.
H-E-L-L-O (Cauleen Smith, USA, 2014, 11 min) In New Orleans, solo musicians carry the five-note refrain from Close Encounters of the Third Kind like a torch, marking and connecting sites of Black history, perseverance, and culture.
Hidden (Jafar Panahi, France/Iran, 2020, 18 min) Together with his daughter and their theater-producer friend, Panahi embarks on a road trip to a Kurdish village to visit a gifted young singer. Her family, however, forbids her from showing her face on camera.
Pictured, top to bottom: H-E-L-L-O, We Are Going to Record, and The Color of Love.