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  1. Walsed (Alberte Pagán 2014)

    Walsed is a film study on the experimental classic “Visión fantástica” by Eugène Deslaw. Where Deslaw negativized, I negate —while recovering the original positive images—, drastically reducing the film’s 60 minutes’ length and reversing the images in space and time.

    I kept the same soundtrack, although equally compressed into 3 minutes’ length and divided into two channels: one, in the original direction; the other one, reversed.

    This negation of a negation is far from being an acceptation: the folk images and songs from a fascist country, underlying the NO-DO shots touched up by Deslaw, are negated; the filmmaker’s intentions when negativizing/negating them are understood; but, seeing that the effort is not enough, this film goes beyond his proposal on the way to total destruction.

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    Obrigado a Luis E. Parés

  2. superfícies - long face (carvom) (Alberte Pagán, 2014)

    Long Face is the first work in a series I had been thinking about for a long time. I was hoping to experiment with the refilming of (both old and new) images off different surfaces. I had already tried this resource out in a couple of scenes in A Pedra do Lobo, in which the screen “window” becomes, unexpectedly, a “canvas” in front of which the male character performs. And more consistently in the installation of A quem se lhe conte…, double-screen projected on brown paper in the exhibition ESTRAZ@rtes.

    Long Face was born suddenly and by chance when a stain of mold started to grow on the portrait that Jesvir Mahil had made of me in 1987, and which had the same title as the film. When I dismounted the frame to clean and dry the charcoal, I saw that the back board was completely covered with mold. Sonho bolivariano would spring from this.

    In Long Face I projected a portrait of Susi Somoza on this portrait by Jesvir Mahil. Susi’s portrait, made in 2007, had been used in A Pedra do Lobo. While A Pedra do Lobo in a way deals with the identity of contraries, in Long Face, besides, past and present time merge into an impossible triangle.

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  3. superfícies - sonho bolivariano (balor) (Alberte Pagán, 2014)

    Official Selection Curtocircuito Film Festival

    Static shots refilmed from a contaminated surface. Politics, tripod, mold on wood. Bolivarian Dream was made on the same day as Long Face. It was urgently refilmed off a wooden board covered with mold before doing the cleaning. The colour saturation, the plasticity and the granularity of the image come from the surface and from the low definition of the old projector I used.

    The images were shot in a Cararas street and in the Caguán (Colombia). Therefore, they refer, directly and indirectly, in title and imagery, to my A realidade (Reality).

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  4. superfícies - forgoselo (granito) (Alberte Pagán, 2014)

    The images of Forgoselo were filmed during the Chanfaina Lab filmmakers’ encounter that took place in Sam Sadurninho on 6-7 September 2014, an encounter promoted and encouraged by Manolo González. Forgoselo is the third installment of the Surfaces series. In this case, the image of a rock in the Forgoselo mountains is refilmed off a granite surface: granite on granite. I like those stone skies: earth and air hold each other in a passionate stone embrace.

    The trembling of the camera in the first shots (caused by the wind, which is also present, indirectly, in the soundtrack) helps us discriminate the image from the surface. From then on, it’s up to us to build our own surfaces.

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  5. (Alberte Pagán, 2014)

    King Kong as never before.
    Legendas em galego.
    Subtítulos en castellano.

    Thanks to Andrés Duque.

    In 1971 Iván Zulueta shrank Schoedsack & Cooper’s King Kong (1933) into a dizzy 7 minutes, after refilming jumpingly off the TV screen during a broadcasting of the film. Thus the original 35mm (professional gauge) ended up compressed into the tiny 8mm (amateur gauge) of the Basque filmmaker, but only after having been converted into a TV signal.

    I took Zulueta’s film and gave it back its original duration. The impossibility of recovering the original film by extending the time highlights the radical difference between both projects, and it comes in useful to study Zulueta’s construct, which, by the way, does not start at the beginning. Zulueta dispenses with the first sequences and he significantly starts his film only when the rolling camera in the original King Kong shows up. The actress expresses horror, although not before the big ape Kong, but in front of the camera, the cranking of which we can hear (cinema as monster).

    I have included the original soundtrack as a tape measure against which we can measure the divergences and convergences of both films. The raw material I used was a low definition digital version of the film which then I transformed into a high definition one. The journey from gauge to gauge (35mm – TV – 8mm – AVI – HD) should have ideally ended on the original 35mm, with all the grain and lack of definition gathered along the way.

    You may miss the story, but all the racism and sexism comes to the surface as never before.

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  6. Frank (Alberte Pagán, 2015)

    Frankenstein as never before.
    Legendas em galego.
    Subtítulos en español.
    Thanks to Andrés Duque

    Frank is the third instalment of my film studies which began with Walsed.’s twin sister, Frank uses again another film by Iván Zulueta. The 1972 FrankStein condenses the homonymous James Whale film into a brief three-minute work. This time Zulueta does not use the 8mm camera of Kinkón, but Whale’s 35mm, although refilmed, once more, off the TV screen, commercials included.

    I have stretched these three minutes and have given them back their original duration (but just from the scene where Zulueta starts refilming —the cemetery sequence). The many frozen shots are less dynamic than the ones in, but they let me play with the original images, which I have used here as a tape measure with which we can measure convergences and divergences.

    The music is Zulueta’s original, stretched as much as the images. I have also kept Whale’s sounds and musics, but I have removed the dialogues, except for the intense “Now I know what it feels like to be God!”

    Both Zulueta’s work and, in this instance, mine, are made out of remnants and snippets: we dig in the film history cemetery, we take fragments of dead bodies and with them we create, the seams visible, our own creature which we bring to life. The filmmaker as doctor Frankenstein, the film as the monster.

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