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zz2Film/Video

Bullets for Breakfast

1992  |  film  |  color  |  sound  |  77 min
Holly Fisher
Various Country, found
Ryerson Johnson (pulp fiction writer), Heide Schlupmann (film theoretician), Tiny Green (fish-skinner), Nancy Nielsen (poet, activist, & farmer)

with the beauty of early Rauschenberg but with the added pleasure of dynamic motion.

– Peter Brunette, Film Quarterly

awards/events
• World Premiere, The Forum of The Berlinale, Berlin, Germany, 1992
• “Best Experimental Film Award” The Ann Arbor Film Festival, 1992
• Selection, The Biennial of The Whitney Museum of American Art, 1993
• By Invitation, The Flaherty International Film Seminar, 1993
• Upcoming: To be re-issued on HD DVD by Re-Voir, Paris, France, together with other early film works of hf, late 2017. 

synopsis
Images from My Darling Clementine form the basis for thought-provoking interpretation in Fisher’s Bullets for Breakfast. Combining stunning optical printing with a dense weaving of poetry, storytelling, and visual narrative, Fisher’s film explores the violent underside of another frontier — gender relations. Juxtaposing a pulp-western writer with a feminist poet, or women working at a herring smokehouse with those depicted in paintings by European Masters, Fisher reorders stories and images like musical motifs. A captivating hybrid of experimental and documentary technique, Bullets for Breakfast mines the depths of subjectivity, blurring the lines between myth and reality, fact and fiction.   

–Jon Stout, co-founder Free Speech TV and 
former Director, Filmforum, Los Angeles, CA

notes
• BFB was made from about 80 rolls of original Super 8. Re-worked in layers via JK optical printer – 4 years in production
Softshoe is the source of my current and on-going digital print project, to produce a gallery exhibition combining stills of differing scale with film loops built from excerpts lifted from the film.

press/reflections
…a fascinating display of the power of technology to produce art and make us think. …. Fisher’s quiet, subtle feminism convinces through suggestion rather than finger-pointing; an added delight is that her double-exposed images, reminiscent of early Rauschenberg, are quite beautiful. 

–Peter Brunette, The Chicago Reader, 1992

…Fisher constructs the film along the twin axes of visual sophistication and handmade aesthetics –– it’s both beautifully meticulous and gorgeously frayed.… 

–Cameron Bailey, NOW, The Arizona International Film Festival, 1993 

…the active word above is meditation, …Bullets for Breakfast doesn’t traffic in polemics. … a surrealistic reverie of pictures kissed with irony, unreels in dream time. …the director makes canny decisions…blessed with a dazzling eye for color, Fisher delivers a movie that can be downright ravishing. 

–Robert S. Cauthorn, The Arizona Daily Star, April 23, 1993 

… the questions of writing, self, audience and nation figure here, but ever so much between the lines and in the interstices of the edits… the weave of images and stories by a master weaver, editor, filmmaker, will let us each speculate, while she speaks through an artful cultural collage in which fine and popular art enrich one another. Holly Fisher’s film is stunning.

–Maureen Turim, author, film scholar, professor

Bullets is, at once, a work in the “structural” tradition of Ken Jacob’s Tom, Tom, the Piper’s Son, Michael Snow’s Wavelength, and Larry Gottheim’s Mouches Volantes; and a feminist response to the (“masculine,” “phallic”) rigidity of the structural tradition. In its reframing of images from Ford’s My Darling Clementine and in its use of visual and auditory layering within which viewers continually detect subtle, complex, ambiguous connections and dissonances, Bullets for Breakfast could have been inspired by Luce Irigeray’s The Sex That is Not One. Serially organized, … Bullets for Breakfast combines a sense of the familiar, the everyday, and of the mystery and evanescence of experience. It is both theoretically sophisticated and sensually engaging.

–Scott MacDonald – Author & curator, The Flaherty Film Seminar, 1993

grants
The Jerome Foundation Film Production Grant
NYSCA Grants, Production, Post-Production, & Distribution
NYFA – New York Foundation for the Arts Fellow Award in Film

screenings (selected)
Microscope Gallery, Brooklyn, NY (2015)
Broadcast on Free Speech TV (2003-2004)
“The Films of Holly Fisher,” Museum of Modern Art (Retrospective, 1995)
LA Film Forum, The Gene Autry Western Heritage Museum (1994)
The Pleasure Dome, Toronto, Canada (1994)
The Robert Flaherty Film Seminar, Aurora, NY (1993)
Whitney Museum of American Art Biennial, New York, NY (1993)
Haifa International Film Festival, Haifa, Israel (1993)
American Film Institute Film Festival, Los Angeles, CA (1993)
The Forum, Berlin International Film Festival, Berlin, Germany (World Premier, 1992)
Ann Arbor Film Festival, Ann Arbor, MI (1992)
Stockholm International Film Festival, Stockholm, Sweden (1992)
London International Film Festival, London, United Kingdom (1992) 
Chicago International Film Festival, Chicago, IL (1992)
Los Angeles Film Festival, Los Angeles, CA (1992)
Galway Film Fleadh, Galway city, Republic of Ireland (1992)
Pacific Film Archive, Berkeley, CA (1992)
Harn Museum, University of Florida, Gainesville, Florida (1992)