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CORRESPONDENCES: FILMS AS LETTERS

PROG.3 - POSTCARDS, REFLECTIONS AND REFRAMING

In Beavers’ cinema, the turning of the lenses unfolds the image at the edges. Horizontal and vertical invert. Rectangular masks diminish and limit the frame. In Hand Held Day, a mirror, held like one of Alvarado’s postcards, condenses the idea of a single day, while Pasadena Freeway Stills creates the illusion of movement through still images. In Mirror, the frame which the mirror reflects equates to that of the camera, coinciding with what the filmmaker sees, while in (nostalgia), the photo-frame and the duration depend on combustion. We listen to a commentary about a photograph that we shall be seeing in the future and look at a photograph that we have just heard about 

CRUCE POSTAL. Valentina Alvarado, 16mm [transfer. Digital], 4’.
PASADENA FREEWAY STILLS. Gary Beydler, 16mm, 2’, silente.
DIMINISHED FRAME. Robert Beavers. 24’.
(nostalgia)Hollis Frampton. 38’.
HAND HELD DAYGary Beydler. 16mm. 6’:
MIRROR. Robert Morris, 1971, 16mm, 9’, silente.

TRT: 79 min

PROMOTED BY
Gobierno de Navarra Cultura Navarra
ORGANIZED BY
NICDO
WITH THE AIS OF
Ayuntamiento de Pamplona Centro de Arte Contemporáneo de Huarte Teatro Gayarre
Fundación Caja Navarra Planetario de Pamplona Filmoteca de Navarra Acción Cultural Española
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