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GAZWRX杰夫•基恩电影集
GAZWRX：The Films Of Jeff Keen
分 类： 电影 类型：
国 家：
主 演：
清晰度： 1080P 视频：
大 小： 42.4GB 片长：
字 幕：
音 频：
标 签： 原盘／BFI
人 气： 0 更新： 2021-12-22
《GAZWRX：杰夫•基恩的电影》杰夫•基恩（Jeff Keen）是英国实验电影的代表人物之一，他的电影制作独特而充满创造力，融合其自创的动画技巧及声音制造，从中可以窥见英国上世纪六十年代朋克和反文化运动的缩影。《GAZWRX：杰夫•基恩的电影》收录了一系列基恩在1960年代到1990年代期间的短片创作，系统地展现他的艺术实践。
Films on Blu-ray
Early 16mm Films:
Cineblatz (1967, 3 mins)
White Lite (1968, 3 mins)
Marvo Movie (1967, 5 mins)
Meatdaze (1968, 8 mins)
Rayday Film (1968-70, +1976, 13 mins)
24 Films (1972-1975, 18 mins)
DR G’s Home Movies
The Cartoon Theater of Dr Gaz (1976-79, 14 mins)
White Dust (1972, 33 mins)
Mad Love (1978, 42 mins)
Family Star
Diary Films (1972-76, 26 mins, 4-screen), includes: Stolen Moments (1972), Lone Star (1975), Godzilla – Last of the Creatures (1976) and Rosa Canina (1970s).
Return of Silver Head (early 1980s, 21 mins)
Self Portrait
Victory Thru Film Power (1980s, 3 mins)
B-B-B Born and Life Storm (1990s, 5 mins)
Kino Pulveriso (1993, 1 min)
Kino Staccato (1999, 2 mins)
Pulverised Cinema (1990s, 10 mins)
The Dreams and Past Crimes of the Archduke a.k.a Dreams of the Archduke (1979-84, 7 mins)
Omozap (1991, 1 min)
Omozap 2 (1991, 1 min)
Blatzom (1986, 12 mins)
Joy Thru Film (c 2000, 20 mins)
Artwar Super 8
Artwar Fallout + Artwar 3 a.k.a Irresistible Attack (1993-1995, 10 mins, twin-screen)
Artwar Loop 1 (1990s, 1 min)
Artwar Loop 2 (1990s, 1 min)
Description
GAZWRX-The Films of Jeff Keen contains more than forty of the British director’s most well known experimental works. They are formally divided into eight groups - Early 16mm Films, Dr G’s Home Movies, Family Star, Self Portrait, Artwar Super 8, Early 8mm Films, Rayday Videos, and Artwar Videos - where one could view them individually or in a strict chronological order. Furthermore, the producers of this collection have also added up a special feature that allows one to loop a few of the more impressive films.
Generally speaking, none of the films have a well defined structure. In fact, most of them are comprised of chaotic images complimented by unusual sounds moving at a very high speed. In addition, a lot of the films reveal strange sound overlapping, image degradation and heavy color-manipulation. A few of them also offer distorted narration, but it is practically impossible to tell what is being said.
The heavy surrealistic overtones each of the short films in this collection reveals are very easy to detect. The blending of explicit images with political slogans, bizarre behavior and strange looking objects (a pair of sun glasses resembling a pair of legs; a man’s head spinning incredibly fast, etc), however, makes it very difficult to deconstruct their message. As a result, one is repeatedly forced to speculate what the majority of the images are meant to reveal.
Nevertheless, the raw intensity of Jeff Keen’s films is staggering. There is a sense of beauty in them that is intricately appealing precisely because one is unable to fully grasp their meaning. For example, in Marvo Movie (1967, 5 min) a man with a gun appears shortly after we have seen images from a very large cemetery. Then we see a red bulb, the ocean, and a strange mechanical doll with a Frankenstein head. Obviously, it is impossible to tell immediately what all of these images have in common, but attempting to uncover the thread that links them is what makes watching this short film a truly fascinating experience.
Some of the obvious influences that one is likely to recognize in these abstract films could be traced back to punk-rock and erotica. This being said, I don’t think that any of the graphic images that pop up occasionally could be linked to exploitation cinema, though they certainly add quite a bit of that exotic flavor that makes exploitation cinema attractive.
As admitted by Jeff Keen, a lot of these films were meant to be a form of protest against conventionalism and mainstream art in particular. Unsurprisingly, many of them resonate quite well as political statements. For example, in Artwar Fallout + Artwar 3 we see exploding bombs, peace signs and street graffiti that are placed next to famous political figures. We also see clippings from popular magazines placed next to images of mass destruction and toys.
Still, while many of these short abstract films could get quite extreme, they never become offensive. If anything, they are provocative and truly fascinating to deconstruct, given the socio-political conditions under which they were shot.