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The Best Ken Jacobs Directed Movies

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poster

73

30

6.0

/85/

68

/6/

65

/2/

3.3

/842/

95

/20/

88

/19/

Using his trademark flicker method, Ken Jacobs pays homage to the oldest type of color film, Kodachrome (whose production was discontinued in 2009) and to Jonas Mekas, who managed to breathe life into Kodachrome.

poster

61

26

5.9

/288/

40

/6/

60

/14/

3.5

/417/

83

/215/

An experimental feature made by rephotographing the 1905 Biograph short Tom, Tom, the Piper's Son.

poster

53

18

4.9

/474/

42

/13/

56

/17/

3.3

/926/

Little Stabs at Happiness is a collection of silent shorts Jacobs shot from the period of 1959-1963. Jaunty tunes (and a somber reflection) accompany the footage.

poster

29

16

2.9

/1073/

29

/30/

27

/39/

2.4

/1707/

12

/5/

A man fondles objects, looks at himself in the mirror, poses in different clothes, smiles and makes faces at the camera while his voice on the soundtrack speaks of his despair, makes impressionistic statements and little songs, quotes Greta Garbo and Maria Montez, tells the story of a lonely little boy and tells the story of a woman named Madame Nescience who dreams of herself as the Mother Superior of a convent of sexual perversion.

poster

53

13

5.4

/227/

39

/12/

49

/17/

3.5

/587/

In Capitalism: Slavery, Jacobs uses a Victorian stereograph (a double-photograph) of slaves picking cotton under the watchful eye of a white overseer as the source for this wrenching silent work. Through digital manipulation, Jacobs creates a haunting illusion of depth and movement. It is as if he has "entered" the image and reactivated this historical moment; he moves among the figures and isolates individuals, creating a stuttering, pulsing effect that suggests motion even as it animates stasis.

poster

69

11

7.2

/194/

56

/6/

75

/10/

3.7

/371/

An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents.

poster

?

10

/1/

Jacob's home movie portrait of Alfred Leslie and his family intercut with fragments of a Mickey Mouse cartoon.

poster

?

20

/1/

An Eternalism film.

poster

?

20

/1/

An Eternalism film.

poster

?

20

/1/

An Eternalism film.

poster

?

55

/1/

Here Jacobs revisits the original 1905 source material of his celebrated 1969 structuralist film, Tom Tom the Piper's Son. In his earlier film, a landmark of cinematic deconstruction, Jacobs re-photographed and manipulated a film fragment from the dawn of cinema, penetrating the image to reach the sublime. In Anaglyph Tom, the artist applies the anaglyph 3-D process to the original footage, engaging the experience of depth perception as the subject of his relentless experimentation and dizzying interventions.

poster

?

10

/1/

Short film by Ken Jacobs later included in his compilation The Whirled.

?

10

/1/

Existing home movie titled and placed into distribution by Jacobs without intervention.

poster

?

20

/1/

Ken Jacobs describes Bob Fleischner Dying: "Bob allows his sick and fading image to be caught in stereo photography. A man of mystery, so banal in some ways, so unexpectedly 'on' when the situation demanded. The cameraman for Blonde Cobra and much beloved by the next generation of NY film-makers."

poster

?

10

/1/

Single fixed-camera take looking from within darkened room, (camera within a camera) out through fire-escape door into vertical space between rears of downtown N. Y. loft buildings. A potted plant, fallen sheet of white paper, cat rests on the foreground door-ledge. The flow of the image is interrupted, partially and then wholly dissolving into blackness; the picture reemerges, the objects smear, somewhat double, edges break up... and again the serene image scintillatingly looms into view. Focus shifts abruptly between foreground and background planes, creating a strong volume-illusion. The fragile image then shines forth for one last time before dying out.

?

60

/1/

This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither film nor video. Highly stroboscopic and hallucinatory, these kinetic performances result in otherworldly spaces and plays of near-abstraction and suggestive imagery. Mountaineer Spinning features an evocative musical score. This work highlights Jacobs' relentless experimentation with the very fabric of projected light.

poster

?

4.5

/8/

Ken Jacobs, the erstwhile master of experimental celluloid filmmaking, fully embraces video technology in this reworking of the 1929 Laurel and Hardy film Berth Marks. Prior to this digital version, Jacobs presented this film as one of his live "nervous system" performances, projecting identical overlapping frames in a slightly asynchronous manner to create the illusion of three-dimensional effects. This creation carries the filmmaker's live performances into the digital realm through a patent-pending "Eternalism" technique, which doesn't require Jacobs' physical presence at each projection. In Ontic Antics, Jacobs extends his ongoing exploration of the teeming depths of life contained within individual frames of film.

poster

?

70

/3/

Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.

poster

?

20

/3/

An Eternalism film.

poster

?

8.9

/11/

Found Footage avantgarde film.

poster

?

10

/1/

Jacobs's 1st Window is a dazzling balletic breaking-up of the cinematic frame.

poster

?

30

/1/

"fails to distinguish art from history." An eternalism film by Ken Jacobs.

poster

?

10

/1/

“The film said something necessary at the time: the numinous is everywhere, even upstate Rust Belt Binghamton. The light was perfect, students brilliant, America’s killing spree then in Vietnam distant.” -KJ

poster

?

70

/2/

DAY AND NIGHT was photographed with a still-camera with close-up attachment. Two close images were taken, with the subject -a heather plant- on a turning platform. The heather blossoms are tiny, on average less than 1/8 inch in size. Color was augmented and transformed via computer. Movement was computer-created by way of an editing-formula of my invention (patented) by which 3D films can be made from 2D imagery exploiting similarities and differences between two adjacent film-frames. Active 3D events appear that impossibly continue in one direction without change, my name for them is both silly and fitting: eternalisms.

poster

?

7.3

/7/

Early 20th-century street vendors push their carts loaded with vegetables. It is time for them to go. Little by little, the viewer discovers fragments of the film of that reduced space in which multiple actions are occurring. The films' technique, The Nervous System, succeeds once more in creating the illusion of visual depth.

poster

?

8.2

/8/

This work is derived from one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither film nor video. Highly stroboscopic and hallucinatory, these kinetic performances result in otherworldly spaces and plays of near-abstraction and suggestive imagery. In Krypton is Doomed, the audio accompaniment to the shifting visuals is an installment of a Superman radio play — the first ever broadcast, in 1940. This work highlights Jacobs' relentless experimentation with the very fabric of projected light.

poster

?

20

/1/

In this short and beautiful piece, Jacobs creates a flicker effect by editing close-up footage of a stream together with sections of black, producing a sense of constant movement that never progresses. The frame of the image shifts from vertical to horizontal and then slowly rotates 360 degrees, adding a layer of more superficial movement to the pulsating, shifting colors of the stream. Thus foregrounding the image as constructed, flat surface, Brook is impressionistic and painterly in a way that much of Jacobs' work gestures at, but rarely fully embraces.

poster

?

6.1

/17/

60

/1/

A reworking of 10 seconds from Entrée d`une noce à l`église (Entrance of a wedding at the church), the 1896 Lumiere brothers film. As the line of wedding guests advance slowly, the adjacent frames, one to each eye, join to create an irrational and impossible 3-D. Silent film, avant-garde, and digital 3D: 120 years of film history merging into one single cinematic event.

poster

?

60

/1/

In the backyard with the inimitable Jerry Sims. Shot in 8mm in 1975, edited and transferred to 16mm in 1987.

poster

?

4.6

/8/

10

/1/

Avant-garde filmmaker Ken Jacobs presents Buster Keaton's short silent comedy Cops (1922) as his own work by blacking-out approximately the top three-fourths or four-fifths of the frame.

poster

?

27

/4/

Silent film by Ken Jacobs featuring his son asleep at the table then being put to bed.

poster

?

10

/1/

60

/1/

"Flat image (of snowbound suburban housing tract) blossoms into 3D only when viewer places Eye Opener before the right eye. (Keeping both eyes open, of course. As with all stereo experiences, center seats are best. Space will deepen as one views further from the screen.) The found-sound is X-ratable (not for children or Nancy Reagan) but is important to the film's perfect balance (GLOBE is symmetrical) of divine and profane.. - K.J.

poster

?

10

/1/

'Blinking' 2D rendition of one of Ken Jacobs' Nervous System performances first presented in 1994.

poster

?

35

/2/

An Eternalism film.

poster

?

10

/1/

"The image on the screen flickers unsteadily; the rhythm is unsettling: black/white, black/white, white/black. The film cuts abruptly to a playground. Color appears, sound sets in. Children crawl in the sand, adults watch over them, sitting on benches. It turns abstract. At the end a circle appears on the screen, again flickering strongly, like a beating heart. This is Incendiary Cinema. There is no such thing as a nice succession of images; the film is supposed to distress and disturb, and it also aims to create receptivity for images and viewing. It is a small, quite salutary shot before the main film." — Vienna International Film Festival

poster

?

50

/2/

Made in response to the death of his friends Bob Fleischner and Jack Smith, who died within one week of each other in 1989, this feature includes footage from Jacobs’s Star Spangled to Death showing Smith perambulating through downtown Manhattan, as well as views of Fleischner from Jacobs’s 1961 short The Whirled.

poster

?

6.6

/22/

20

/1/

1906 - Original cinematographer unknown. 1996 - New arrangement by Ken Jacobs. Shots shown as found in "A Trip Down Mount Tamalpais", the Paper Print Collection, Library of Congress. Optically copied by Sam Bush, Western Cine Lab., Denver, from l6mm to 35mm letterbox format to allow double-image mirroring in 1:85 ratio projection.

poster

47

?

5.8

/83/

20

/3/

45

/4/

3.3

/290/

The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience's sense of gravity. The camera's movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice

poster

66

?

6.8

/67/

60

/2/

3.6

/630/

A digital animation of a Victorian stereoscopic photograph of a 19th-century factory floor, crowded with machinery and child workers. Filmmaker Ken Jacobs isolates the faces of individuals and details of the image, as if searching out the human and the particular within this mechanized field of mass production. Space appears to fold in on itself as Jacobs activates the stereograph; the agitated image flickers and stutters, but the motion never, in fact, progresses.

poster

?

6.2

/16/

Part of his “Nervous System” performances, the artist’s skills as a projectionist were highlighted when he invented this specially designed system of two analytic stop-motion projectors, equipped with a spinning exterior shutter, enabling him to compare stills of found footage side by side. While he wanted to be as frank about sexuality as possible, Jacobs was mostly uninterested in the pornographic content of the film, favoring the discussion it prompted about the depth of the formal elements of movement.

poster

?

80

/1/

Ken Jacobs applies his patented Eternalism process to 3D images he took of Jackson Pollock's 1954 splatter painting.

poster

?

35

/2/

"NISSAN ARIANA WINDOW is 3/4's of our daughter's name. She was just kid when these pictures were taken. Some were taken before she was born: pregnant Flo together with pregnant cat China sunning themselves under the skylight. Andrew Noren likes the movie." - Ken Jacobs

poster

?

6.1

/7/

10

/1/

Shot in Provincetown in the summer of '61 with the goal of funding a larger project, the film was never completed due to a violent argument between actor Jack Smith and director Ken Jacobs shortly after the shooting began. A title card explains that Smith 'would've starred as the Fairy Vampire.'

?

70

/1/

Studying painting with Hans Hofmann had sensitized me to depth phenomena, to strange readings of depth including the most unnatural: flat. In 1964, I learned of the Pulfrich Effect and gained access to wholly illusionistic depth way beyond indication. This led in 1975 to my partner Flo and I beginning to explore the Nervous System, performing with two stop-motion film projectors to superimpose sequential film frames showing different perspectives for extended periods of time. A spinning shutter between projectors activated the compound image onscreen, introducing depths available even to a single eye but strange, uncanny; nuts. In 2000 we switched to digital processes, we patented our discoveries for the new medium and exploration continued, continues. Eternalisms show stereo photographs, their two close perspectives joined via computer to display as a single ongoing dimensional image that can be seen without glasses. Not to be trusted for a moment but interesting.

poster

?

10

/1/

A film by Ken Jacobs made in 8mm

poster

?

10

/1/

Ken Jacobs film on Rodney King and the LA Riots utilizing Pulfrich 3-D, in which a single dark filter is placed before one eye.

poster

?

45

/2/

An Eternalism 3-D film by Ken Jacobs

poster

?

5.8

/10/

Fall into winter 1964, Urban Renewal forced us to move a few blocks to West of Broadway. Our Sky Socialist ‘set’ is still standing and I’m drawn back to document more. It’s old New York, a lot of history. And then it no longer stands, no more than my first home in the slums of Williamsburg just across the river.

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