+ otherwise pictures llc

Events

Re:Voir Video Promotion: 45% Off Select Films Including Bullets for Breakfast!

Re:Voir Video will be hosting a special promotion featuring 45% off select DVDs linked to upcoming VOD releases. In celebration of the June 6th and June 13th VOD releases from Holly Fisher, her 1992 feature film Bullets for Breakfast will be available at 45% off starting June 6th through the 20th. Don’t miss out on this offer and make sure to keep an eye out for the newest VOD releases coming soon!

New VOD Releases Coming Soon From Re:Voir Video

June 06, 2020

CLICK HERE for Program #1 (releasing June 6th on Vimeo on Demand):

WATERMEN
1968 | 16mm | color | sound | 63 min
filmmakers: Holly Fisher & Romas V. Slezas
Technical Information: Filmed between 1966 – 68, Eastern Shore MD.
music: Performed by Captain Daniels and his wife, various watermen skippers and African American crew
with: Captain “Daddy Art” Daniels, members of Daniel extended family, crew of “City of Crisfield” 1968, last sailmaker, Wenona on Deals Island, Maryland. Other watermen and relatives from Wenona and Tilghman Island, Maryland.

In 1966 Holly Fisher and co-director Romas V. Slezas filmed the annual Skipjack Race off the coast of Annapolis, Maryland, focused especially on local folk hero skipjack Captain “Daddy Art” Daniels, who won that day. Over the next three years they filmed Daniels, his family, his Afro-American crew, and his colleagues catching oysters, at home, singing & preaching in church, high school graduation, last sail maker (Wenona, MD), three generations featured (1967) on Maryland TV station, i.e. the passing of a way of life on the Chesapeake Bay. The film tells a simple story of the watermen working the last sailing fleet of workboats in North America and it is perhaps also the story of Manifest Destiny playing out in an isolated pocket of American culture.

Slezas and Fisher worked as a cinema vérité team for over three years 1966-1968, returning when they had funding to continue. The film has no outside narrator, and is carried by stories lived and/or told by the characters themselves. In the fall of 2009, Fisher returned to Wenona to film Captain Daniels, then in his late 80s, who would skipper the “City of Crisfield” in one more Skipjack race. By now Daniels had become a local legend, and was featured in multiple T.V. interviews plus the local Deals Island parade, filmed waving from the back seat of a red convertible.
At that time two of Daniels’ sons were still catching oysters in the traditional way; his oldest son was also a local country western singer who broadcast especially to other fishermen from his own Skipjack. His youngest son “Bobby” had become a well-respected and fiery preacher. He oystered well into his nineties.
Captain Arthur “Daddy Art” Daniels, waterman, Minister, and great-great-grandfather, died at home in Wenona, MD, June 2017 at age 95.

Goldfish Variations is a playful work comprised of sketches made with a minute of iPhone footage re-envisioned within 18 video layers, shaped with, against, around, and inspired by Vierk’s densely textured, continually shifting, tightening, building, deeply riveting forward motion sound flow of her piece River Beneath the River.

t h i n k t a n k is a tapestry in motion, in which 24 layers of iPhone video of swimming goldfish are laced with ambiguous floating text – transforming over time from a playful meditation on language into a haunting look into the ethos of the U.S. government surveillance dragnet. Music is by avant-garde composer Lois V Vierk.

Buffalo Diaries: An assemblage of sequences of water buffalo and related imagery (palms, bamboos, archives) culled from my work on Burma–filmed between 1996 and 2003. I made this especially for my friend and advisor of many years, Lance Bird, who has a deep love and appreciation of animals, not least, the water buffalo.

CLICK HERE for Program #2 (releasing June 13th on Vimeo on Demand):

Included with her experimental documentary Deafening Silence (2012) is a series of short film/video works, created on a multi-layered timeline between 2012 – 2018, via the recycling of her 8mm & 16mm film, iPhone, and other primary sources as her point of departure. Perception is the common ground within this otherwise radical departure from her long-form essay films Everywhere at Once, Deafening Silence and A Question of Sunlight. Each new work here loops back to the cyclic and layered optical printing experiments with structure, including her multiple projection project Ghost Dance originally performed by Fisher in the early 80s.

Deafening Silence is a fusion of beauty and terror, observation and anger, roving visuals and intimate stories that are funny, contemplative, or horrific – a subjective, layered depiction of Burma under brutal military dictatorship. My first trip was legal, shooting video as a fake tour guide doing research. The next was on foot, under-cover with ethnic Karen guerrillas, to film internal exiles surviving in a free-fire jungle war zone. Colonial archival imagery and clips from YouTube are woven within this tapestry of fragments, often in ironic counterpoint, and always to pierce the chokehold of censorship. This is a living history of a country arrested in time, a hybrid documentary focusing on ethnic genocide but with constant poetic resonance and a rich multiplicity of references to history and popular culture.” – Hank Heifetz and Holly Fisher

… this doc deserves to go places. Big places. Using footage from two trips she took to Burma (one as a legitimate tourist and one covertly and illegally), news reports, YouTube videos, interviews, and more, she crafts a nonfiction tone poem that feels more like Apocalypse Now than any doc I can think of. …There are frequent moments of joy and grace, both small and large, captured in Deafening Silence. It’s those small heartbeats, the candle in the wind of love against hate, right against might, that holds the truly unshakeable hope for the future. – Dan Schindel, film critic, blogger

Ghostdance for a New Century (1980-2015): Digital update of an old two-channel film. Here, the screen is a dish on which elements concentrate in the center. Its inset frames and their glimmering sprocket holes recall panes of stained glass, inlaid atop each other in an impossible cathedral, producing stirring combinations of consecrated light. Composer/cellist Ha-Yang Kim performs her original score, LENS – Maxwell Paparella, Screen Slate

b e d e v i l e d: Dragon bones and snakes embracing; skeletons in underwear, flying shoes and bug-eyed aliens are among the characters that comprise the annual NYC Halloween Parade — filmed and transformed into a subjective extra-terrestrial dreamscape. Fragmented, cyclic, and in continual flux, b e d e v i l e d is a collage in motion, grounded within a visible construct of open and ever-shifting frames. – Holly Fisher

bartok on 57th street (s o f t s h o e di-stilled): A re-imagining of my S.8-sourced 16mm film s o f t s h o e (1987) – expanded here from the optically printed original work to a weave of picture made possible via an (avid) video multi-track timeline. This work is a self-contained film/video hybrid variation, for projection but especially for continuous looping for wall exhibition with my digital print project pulled from the same film. The print project “Softshoe Di-stilled” is one of deconstruction, while “bartok” is a filmmaker’s sketchbook unbound, in search of new ground. Odds are good I will continue to expand this work… – Holly Fisher

Ghost Dance (1980) takes the viewer on a spiraling descent into Arizona’s Canyon de Chelly, from the rim at the top to the Navajo ruins on the mud-caked canyon floor. A systemic looping technique via JK Optical Printer creates images that are stretched, recycled, and interwoven, altering one’s perceptions of time and space in relation to the immediate “present.” The film is made from a single roll of regular 8mm film, filmed with a camera found in the back seat of a taxi. After initial exposure (shot in single and “spurt frame” clusters while descending the canyon) the film was accidentally “cooked” in the glove box of the car, giving it a deep reddish tone not unlike the Canyon de Chelly at twilight. I instructed the lab not to slit the film (as was the norm with 8mm) in order to gain access to multiple frames within the 16mm gate of my JK Optical Printer for re-filming. Roughly two years later, I re-filmed the entire 3 minute strand–unslit, using a 16mm gate in my JK printer, and keeping a pretty strict pattern of looped and repetitive sequencing. – Holly Fisher

The Films of Holly Fisher at The Anthology Film Archives

November 07, 2019 - November 12

This long-overdue retrospective surveys the career of Holly Fisher, a filmmaker who since the late 1960s has been as prolific, as free in her exploration of different cinematic forms, and as adventurous in her embrace of new technological tools and ways of seeing as any of her peers, but without enjoying the degree of attention and acclaim that her work richly deserves.

Fisher’s filmmaking career began in the documentary realm, in partnership with Romas V. Slezas, with whom she made vérité-inflected short- and feature-length non-fiction films from 1965-71, and she has continued to work as an editor on documentaries by Camille Billops, Christine Choy, and Camilla Motta, among others. But her own films depart radically from the linear approach of these collaborative projects, most often adopting a densely multi-layered visual style and allusive editing framework that combine to create highly personal and intuitive reflections on the warp and weave of memory and time.

Her body of work has grown to encompass films of vastly different scales and visual textures – including bravura experiments in optical printing (GHOST DANCE and HERE TODAY GONE TOMORROW), hypnotic orchestrations of photography and sound (EVERYWHERE AT ONCE, featuring images of and narration by Jeanne Moreau), witty collisions of imagery and text (THIS IS MONTAGE and ‘t h i n k t a n k’), and urgent, media-refracted meditations on social-political transformations (DEAFENING SILENCE, one of several films culled from footage shot in Myanmar). Unifying all these works is Fisher’s searching, deeply engaged sensibility, her commitment to and knack for finding visual and rhythmic structures that serve to break through to new realms of thought, feeling, and perception.

This extensive retrospective includes a carefully chosen selection of her own moving-image works – short- and feature-length, analogue and digital, photographed and found-footage-based – as well as films representing her documentary roots and her work as an editor. Fisher will be here in person throughout the retrospective!

“Juxtaposition and contrast is my modus operandi, and editing is where my real creative work happens. […] It is rare that I set out to make a film ‘about’ this or that. Rather, I am driven to explore some formal or psychological question that intrigues me – like how to sustain a flow of ideas within the broken continuity of non-linear structuring. Or, how to analyze time and motion by exploring the space between one frame and another. Trauma, memory, and perception are issues that come up repeatedly in my work…. Whether the issue is diabolic human rights abuse, or filmic play with light, shadow, and my own nude body, I will use every sort of maneuver to open space for the viewer to think and imagine – and will subvert every convention of narrative that obscures the possibility of making personal meaning. Whatever is my sleight of hand, my intent is to lead the viewer toward one’s own private insight, metaphor, or other deepest reverie.” –Holly Fisher

This retrospective has been made possible thanks to support from Barton Byg, Penny Duncklee, Vincent Grenier, Susan & Arthur Holcombe, and Alan Rinzler. Very special thanks to Holly Fisher and Ha-Yang Kim.

All screenings will be held November 7 – 12, 2019 at Anthology Film Archives, located at 32 Second Ave (@ 2nd St) in NYC.

For more info, visit Anthology’s website: www.anthologyfilmarchives.org/film_screenings/series/51690

Gallery Exhibition, The Film Gallery, Paris

May 07, 2019

Gallery Exhibition, Film Prints & Installation loops
May 7 – June 28, 2019, The Film Gallery, 43 Rue du Faubourg Saint-Martin, Paris
Opening reception May 7

Screening, “Films of Holly Fisher,” l’Archipel Cinema, Paris

Screening, “Films of Holly Fisher,” l’Archipel Cinema, Paris
Tuesday, May 7, 2019, sponsored by Re-Voir

New DVD release, Bullets for Breakfast & early films of Holly Fisher

March 29, 2019

New DVD, Bullets for Breakfast & early films of Holly Fisher
Produced by Re-Voir, Paris – released March 2019

Featured in Princeton Survey of Influential Film Editors

March 01, 2019

 

Featured in “Edited By: A survey of one hundred and thirty-nine editors who invented, developed, fine-tuned and revolutionized the art of film editing” by Su Friedrich, Princeton University

ENDE TYMES 8: Novo Apocalypso

November 12, 2017

10-12 November 2017

Ghostdance for a New Century, film by Holly Fisher
with live music performance with composer/cellist Ha-Yang Kim
Sunday, November 12, 9:30 pm

Outpost Artists Resources
1665 Norman St, Ridgewood NY
Weekend Pass – $35 Buy tickets 
Sunday Nov 12 – $15 Festival Website

 

, ,

Bullets for Breakfast to be released in HD on DVD by Re:Voir

To be released by Pip Chodorov, Re-Voir, Paris, France

“Bullets for Breakfast” is in process of conversion to HD via Jack Rizzo of Metropolitan Post — and new HD version will be produced & released in a new DVD etc edition (including an early film or two) by Pip Chodorov via Re:Voir, Paris, France.

2 x 2 selected by the Ann Arbor Film Festival for their “Off The Screen!” series.

55th Ann Arbor Film Festival, March 21-26, 2017

Holly’s most recent film 2 x 2 has been selected by the Ann Arbor Film Festival to be exhibited in their Off The Screen! series as a ‘store-front’  installation piece, to run continuously several weeks before and throughout the AAFF55 in downtown Ann Arbor.  Details coming soon!

, ,

Traveling to Berlin for the 2017 Berlinale

Berlin Film Festival 2017 Berlinale, February 9-19, 2017

Fisher will travel to Berlin in order to attend the 2017 Berlinale as guest of her long-time friend and colleague Dr. Christine Noll Brinkmann.

www.berlinale.de

, ,

moving back to NYC

Opening

Holly has been living and working in Easthampton, MA and Tribeca, NYC since spring 2009.  She has recently moved back full-time to NYC, and will split her time between her “tiny house” in Lower Manhattan and her new studio at MANA Contemporary in Jersey City, NJ.  Zach Hart will assist her at MANA to resume her digital print projects which variously link to her past and ongoing film/video work.

,

2 x 2 at The Filmette Film Festival

sponsored by Harvestworks

November 19, 2016

2 x 2, by filmmaker Holly Fisher – two films with two contemporary avant-garde composers Lois V Vierk and composer/cellist Ha-Yang Kim, premiered November 19, 2016 at The Filmette Film Festival sponsored by HARVESTWORKS, NYC, NY. 

www.filmettefestival.com

, , , , ,

Warning: file_get_contents(https://api.vimeo.com/videos/182224995?access_token=8195ba535aed481dc5678ab23dc335c5): failed to open stream: HTTP request failed! HTTP/1.1 404 Not Found in /home/hollyfis/public_html/wp-content/themes/hf/functions.php on line 154