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December 5: The Fragile Emulsion curated by Jon Gartenberg


Image by uniondocs
One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.
Program Runtime 73 minutes.
DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.
SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.
HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr
HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.
WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.
WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.
Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison
Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.

One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.

Program Runtime 73 minutes.

DECASIA by Bill Morrison
USA, 2002, 13 minutes (excerpt), digital projection
In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.

SANCTUS by Barbara Hammer
USA, 1990, 18 minutes, 16mm
In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.

HER FRAGRANT EMULSION by Lewis Klahr
USA, 1987, 11 minutes, 16mm
In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr

HALL OF MIRRORS by Warren Sonbert
USA, 1966, 8 minutes, 16mm
Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.

WARREN by Jeff Scher
USA, 1995, 3 minutes, 16mm
Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.

WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)
1995/7, 20 minutes, 16mm
Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.

Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.
Main image from Decasia by Bill Morrison

Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.
In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.
Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.

Sarah Silverman – Caricature


Image by DonkeyHotey
Sarah Silverman sagacious American comedian, writer, actress, singer and musician.

Source Image by Joan Garvin on Wikimedia

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A few nice actresses images images I found:

TERUHA — THE NINE-FINGERED GEISHA


Image by Okinawa Soba (On the Road for a Week)
TERUA. She led a very happy / tragic life. Her real name was TATSUKO TAKAOKA.

Teruha’s life is the most well documented of all Geisha who appear in the myriad of images published during the Bakumatsu to pre-WW2 years of Old Japan.

Here’s a very good (though highly abbreviated) one page look at her life and times :

***********************************

A Geiko Gallery Article — BY JIM GATLIN Copyright © 2001 The Geiko Gallery

PART ONE : From the Geisha House to the Temple…
The Story of Teruha, Geisha, Postcard Model and Priest !

Often, the image the word "Geisha" paints in most people’s mind is one of elegance, style, wealth and beauty. Literature and prose suggests a rather gilded life, dedicated to the perfection of artistic pursuits. Very little is known about the lives of the Geisha from a personal prospective, or what actually occurs behind the gilded curtain of beauty and poise.

A mere peek into the life a Geisha is rare in and of itself. I was thrilled to discover the story of a young woman who lived such a life, but the added fact that she was one of the most featured Geisha in my postcard collection only added to the thrill as her life unfolded during a recent trip to Japan.

What I learned about this young Geisha was more than I ever expected. Her life was far more remarkable that even the wildest or most vivid imagination might dream up about the life of a sophisticated Tokyo Geisha.

From the glitz and fame of a turn of the century Geisha, to late Meji period beauty queen status, to suicidal depression and failed marriages. Our postcard Geisha traveled a road that eventually led from broken hearted affairs, to inner peace as a temple Priest. From shimmering kimonos to the habits of a nun, from New York’s Wall Street, to the wooded silence of Kyoto. This is the story of Teruha.

She was born in Osaka in 1896. Her real name was Tatsuko Takaoka. It is unclear how, or under what circumstances she made her way to Tokyo, but at the age of 13, after a brief training period, she became a Shimbashi Tokyo Geisha, and took the name Teruha, (Ter-rue-ha), which means "Shining Leaf".

The life of a Shimbashi Geisha at the turn of the century was a charmed life, complete with a certain amount of celebrity status attached to it. It was about this time that photography was becoming popular as an art form, and Shimbashi Geisha was a popular subject for many photographers, as well as a favored topic for many postcard publishers. Teruha enjoyed posing for many of the young and dashing photographers who eagerly hired her to pose for them. The newly published postcards was great advertising for the young and ambitious Teruha.

Teruha was painfully aware that her chosen profession was very much dependent upon her youth and her beauty to a large extent, and she also knew these were assets that she must use while she still possessed them. During her young Geisha days she was involved in a number of romantic affairs, most of which ended in failure.

Around the age of 16, she fell in love and had her heart broken, and tried to commit suicide by cutting off her little finger. She recovered from both the suicide attempt, and the broken heart, and at age 23 married a stock broker and moved to New York. Soon, the marriage ended however, and she returned to Japan and tried to reenter the Geisha community. She had a great deal of difficulty getting a license however, since she was said to have no talent. Most likely, this was retribution from her peers for the marriage and the move to New York. So Teruha returned to New York and studied dance for a few years in an effort to overcome her lack of talent.

She eventually returned to Japan again, and was successful in becoming a Geisha again. She soon turned most of her efforts towards teaching dance to other Geisha in the district. She remained active to some degree as a Geisha in her own right, and before long, she tried marriage again.

This time, Teruha married a medical professor and tried to live as an ordinary housewife, but once again the marriage failed. After her second failed marriage, it was now virtually impossible for her to become a Geisha again, so she sought work wherever she could as an actress, a bar madam and even still as a model. During this period in her life, Teruha struggled through several failed affairs that later she described as "A Checkered Life!"

As is so often the case with troubled people who find themselves locked in a cycle of deep depression, Teruha eventually turned to her religion for a peace and purpose in her life that she had not been able to find as a Geisha. In 1935, at the age 39, she decided to dedicate her life to Buddha and entered the priesthood as a monk. She found herself in the Sagano / Arashiyama area of old Kyoto, at the famous Gio-Ji Temple.

The Gio-Ji Temple is noted for having been founded by two sisters, Gioh and Ginyo who were both loved by the same man, Kiyomori Taira. The affair ended and the sisters secluded themselves in the Heiko Monogatari area to spend the remainder of their lives in quite contemplation and solitude among the bamboo forests the area is famous for. Over the years, Gio-Ji Temple became a place of refuge for many broken hearted women who lived out their lives in the modest temple. It became known in some circles as the Temple of the Broken Hearted. Teruha became one of the broken hearted, and spent the remainder of her days there also.

At Gio-Ji, she took the name Chi syo, which means "Clever Sunshine". She soon became a very popular monk, and later, she rose to the position of Head Priest at the all-female temple. She never escaped the notoriety of her Geisha days, and her failed suicide attempt as a young lover. She was known to some, as "The Nine Fingered Geisha", and to others, "The Nine Fingered Priest!"

Sometime later during her life at Gio-Ji, Chi syo (Teruha) published a book about her life called "Bird Eating Flowers" . She also published a book in diary form about her checkered life called "The long life of a leaf" The fascinating story of her checkered life did not escape the eyes of the Japanese literary world. Several years ago, a popular novel was based upon her life, ( sadly, to the best of my knowledge, none of these books were ever translated from Japanese.)

Despite her troubled youth, Teruha lived a very long and religiously active life. She was well known and loved in the Heiko Monogatari area around Gio-Ji, although she rarely ventured from the temple grounds. She readily spoke to people about her checkered life, and participated in the writing of the novel based on her life. She proved to be a very capable Head Priest, and skillfully administered the Gio-Ji.

The checkered life of the young Shimbashi Geisha, turned Priest came to an end at Gio-Ji in 1995 at the age of 99. Her remains rest on the beautiful temple grounds that she loved so much. By all accounts, Teruha found the happiness that she so desperately sought as a young woman within the confines of the this simple but elegant temple. She never tried to escape her past, the temple was left an impressive collection of Teruha postcards upon her death, instead, she used her troubled youth as a foundation for her faith and dedication in her later life.

During her brief period as a Geisha, Teruha left a legacy of delicate and subtle images that many postcard collectors throughout the world enjoy nearly a hundred years after they were first published. I am sure that she had no idea of the popularity her photos have gained outside of Japan. Her life was filled with the satisfaction she discovered within her religion, and that of Gio-Ji after she turned her back on the Geisha world. Still however, I think she would smile with the knowledge that her old photos have found a treasured place in the hands of many admirers around the world.

It is my hope that story of Teruha, the nine fingered Geisha, will be remembered by her collectors and admirers wherever they may be.

By JIM GATLIN — Copyright © 2001 The Geiko Gallery

PART TWO : www.flickr.com/photos/24443965@N08/4452493729/in/set-7215…

***************************************************************

[NOTE: AFTER ALMOST A DECADE ON LINE, THIS LINK TO JIM GATLIN’S ABOVETRIBUTE TO TERUHA SITE WENT DEAD IN 2009. JIM HAD PASSED AWAY MANY YEARS AGO, AND APPARENTLY HIS FAMILY HAD BEEN KEEPING IT UP AND RUNNING. BUT, NO LONGER. THE LINK HERE IS ONLY AN EMPTY BOOKMARK. www.geikogallery.bizland.com/Teruha1.htm

The copyright to Jim Gatlin’s above story is held by "The Geiko Gallery", which now being defunct, I assume has rolled over to his family and heirs. A cursory search for them has been unsuccessful. I have therefore posted the Web-archived story with his copyright attached, and will remove it if legally verifiable objection is ever tendered by his family.

My personal "non-experience" with her is related in the caption of this photo, where she is seen looking at an old photo album :

www.flickr.com/photos/24443965@N08/2339168227/

Here she is in a "SHOW ME THE OBI !" shot :

www.flickr.com/photos/24443965@N08/2619768918/

Another Geisha has tragic story, almost losing her life at the hands of an insane man : flickr.com/photos/ionushi/1568521865/ (Why is it always men who do these things?)

(L-R) Actress Brittany Snow, Adam Scott and writer/director Lee Toland Krieger with the LG Electronics Kompressor Vacuum on The 25th Spirit Awards Blue Carpet held at Nokia Theatre L.A. Live on March 5, 2010 in Los Angeles, California.


Image by LGEPR
(L-R) Actress Brittany Snow, Adam Scott and writer/director Lee Toland Krieger with the LG Electronics Kompressor Vacuum on The 25th Spirit Awards Blue Carpet held at Nokia Theatre L.A. Live on March 5, 2010 in Los Angeles, California.
Stars Take on Charitable Chore with LG Electronics Kompressor Vacuum on The 25th Spirit Awards Blue Carpet
Nokia Theatre L.A. Live
Los Angeles, CA United States
March 5, 2010
Photo by George Pimentel/WireImage.com

To license this image (59814179), contact WireImage.com

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