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Air Cries 'Empty Water' Trilogy

by Carl E. Brown

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Air Cries 'Empty Water' Trilogy


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DVD Price $200
Streaming Price (1 year) $250
Streaming Price (1 year) + DVD $350
Streaming Price (3 years) $600
Streaming Price (3 years) + DVD $700
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2 DVDs

DVD 1: MISERY LOVES COMPANY, 1993, 60 minutes

DVD 2: THE RED THREAD, 1993, 60 minutes
'I have been working in film and photography for over twenty-five years. In that time I have tried through my journey to perfect my alchemy / my art / my life. It is in the spirit of an experience and not of experiment that my work has been viewed these past 25 years, seized in moments of visual detachment during periods of emotional contact.

These images are oxidized residues, fixed by light and chemical elements, of living organisms. No plastic expression can ever be more than a residue of the experience. Yet, that residue is recognition of an image that has somehow survived the experience, recalling the event, like the undisturbed ashes of an object consumed by flames. When I began working with film and photography in a materially oriented way, I thought that by working with the surface altering and affecting it I could leave my identity, my personality.

My vision was meshed with the films physical makeup creating an organic surface. Also I felt it was a way to create an entirely new visual language, to be able to convey my innermost feelings and emotions in a very personal way.' - Carl E.Brown 'In my new film, Air Cries, Empty Water

I have dealt with the interaction between the environment and the camera/eye. I have converted the base metal silver, which is the construction of film and deconstruct to the rainbow of light which is the resultant conversion to the precious metal. I would like to once again refer to alchemy as a unifying factor between the realization of the idea and completion of the emotion/thought.' - Carl E. Brown 'On the path that Man Ray pioneered in the Twenties, Brown makes films from what heats and colds, the chemicals and the light-gouges together create in the cinemas surface. Brown treats them like the play of sensations on the skin of his art.' - Bart Testa

Carl E. Brown (b.Toronto, 1959) is a canadian filmmaker, photographer and writer. After two years at the University of Toronto where he studied philosophy and psychology, he decided to study filmmaking, completed in 1982 at Sheridan College. He's completed nearly twenty films which have been screened in many festivals in America, Europe and Asia, and were part of the retrospective "Experience chromatiques le cinema contemporain" at the Louvre in 1995.

"To plasticize the films, Carl Brown reinvented the procedures and tools of cinema itself. By pulling (drawing), the gauging and the drying of the surface Brown begins. This chromatic material is the toner that he spreads over the film so as to leave a trace of arm movements, then works with the help of two principal procedures, the Sabattier effect, being the double development with inversion of optic values, and the plaiting, being a doubling of gelatin, caused by the difference in temperature between fixing solutions. With those techniques of pure chromatic mounting (setting) which through folds, fractures and the explosion registers the conversion work which is the development at the heart of the colour itself,
Carl Brown exalts what he calls the 'depravity of toner.' ... CONDENSATION OF SENSATION as other Carl Brown films (RE:ENTRY, 1990; AIR CRIES, "EMPTY WATER," 1995) respect a form of classic narrative, the one of the voyage: its exploratory progression leads from one identifiable type image (the negative for example) to an absolutely frantic nameless chromatic; the colours stacked one upon the other, declining by themselves, have no longer names, colours, connections, nor even describable motion.

Carl Brown, bringing up in his own way the Eisenstein project, describes this enterprise as 'opening up the screen.' However, it is less a question of animating a surface by imaginatively opening it from the outside then covering and recovering it so that each colour coat, itself mixed and complex, falls on the previous one without being annulled or replaced: it superposes itself so dense and opaque that the colour seems to suffocate its own light in a convulsive way. By investing the unedited links to fertilize the possible relationships between coats and undercoats, between analogue planning and all over abstract, between unstringing accumulations. Through wafering and leafing, Carl Brown commutes the film's density into depth ..." - from an essay, "Experience chromatiques le cinema contemporain" - Nicole Brenez, presented at the Louvre, Paris, France in October, 1995

"Carl Brown’s business card does not say filmmaker or even experimental filmmaker. It reads 'visual alchemist.' Brown chemically treats the film’s surface even as he is developing it—a literal and physical deconstruction of the image—and mixes his own toners to create brilliantly vibrant colours which are meticulously added to the image. This is a technique that Carl has mastered over 15 years. It may seem that such a labour-intensive process would dominate the film, becoming its focal point, but Carl is not manipulating the film’s surface as a means unto itself. He is stripping away the representational properties of the image in order to rebuild it according to a more abstract truth already present within the image—a truth based on either visceral qualities or emotional realities. From the moment the image is developed, through to the editing process, this is the principle upon which the film is constructed. Carl’s technique does not obscure the image presented but reveals another layer one informing our view of the other. And where else but in the traditional documentary does the argument for the representational nature of the photographic image reside?" - Barbara Goslawski 

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