Harry Dodge

The Joy of Life

Jenni Olson

Harry Dodge, Lawrence Ferlinghetti

A blending of documentary and experimental narrative strategies, combining stunning 16mm landscape cinematography with a bold, lyrical voice-over to share two San Francisco stories: the history of the Golden Gate Bridge as “suicide landmark,” and the story of a butch dyke in San Francisco searching for love and self-discovery. The Joy of Life is a film about landscapes, both physical and emotional.

Let the Good Times Roll

Harry Dodge, Stanya Kahn

Lost on their way to a desert rock concert, two loners remember the good times.

Cecil B. Demented

John Waters

Melanie Griffith, Stephen Dorff

An insane independent film director and his renegade group of demented filmmakers kidnap an A-list Hollywood actress and force her to star in their underground film.

Winner

Harry Dodge, Stanya Kahn

Stanya Kahn, Harry Dodge

Winner is a fictional interview gone awry, featuring a reticent sweepstakes winner who doggedly avoids receiving her prize and manages to morph an ad spot into a mini documentary about her art work.

By Hook or by Crook

Silas Howard, Harry Dodge

Silas Howard, Harry Dodge

By Hook or by Crook chronicles the tale of two unlikely friends who commit petty crimes as they search for a path to understanding themselves and the outside world. Silas Howard plays Shy (a transgender man), who leaves his small town after the death of his father, and heads to the big city to live a life of crime. Along the way, he encounters Valentine, a quirky adoptee, in search of his birth mother. An immediate kinship is sparked between these men and they become partners in crime. Suffering money troubles, emotional problems, and physical confrontations, the duo face their issues head on and learn to trust each other and support each other in pursuit of their goals.

I See You Man

Harry Dodge, Stanya Kahn

Stanya Kahn

SD video, stereo sound by Harry Dodge and Stanya Kahn 2008

Masters of None

Harry Dodge, Stanya Kahn

At first glance, Masters of None could be the home video of a family of neon-pink hooded figures, passing the time with charades, television, and Jiffy Pop on the stove. As in All Together Now, Masters has no dialogue or clear narrative arc, and while the domestic activities seem everyday, they are infused with suggestions of violence and danger.

All Together Now

Harry Dodge, Stanya Kahn

Eileen Myles, Stanya Kahn

Feral tribes are the only inhabitants left in a decimated Los Angeles, sustaining themselves on the debris of an annihilated culture.

Can't Swallow It, Can't Spit It Out

Harry Dodge, Stanya Kahn

Stanya Kahn

A woman with a viking helmet, bloody nose, and large wheel of cheese rambles across Los Angeles, followed by a cameraman hoping to catch some action.

The Time Eaters

Harry Dodge

Angela McGuire, Phil Davis

Harry Dodge's The Time Eaters, sparked by and in dialogue with Frances Richard's Anarch., follows the orientation of a freshly-minted human to earthly matters, both fleshly and phantasmagorical. This orientation, delivered by an ambiguously-gendered guide, is essentially a monologue that plays with comedic and narrative conventions while also exploring foundational questions about language: its relationship to knowledge, time, abstraction, experience, communication, and intimacy. As the title suggests, the video is also interested in the surfeit of information currently at our disposal, the time we take in downloading it, and the relationships forged by human animals in its haze.

Whacker

Harry Dodge, Stanya Kahn

Stanya Kahn

Under a cloudless Los Angeles sky, Kahn—dressed in incongruous heels and a summery dress—runs an electric weed whacker through a hill of overgrown grass.

Fred Can Never Be Called Bald

Harry Dodge

A sustained, essayistic meditation on the transformation of matter:into new states, new meanings and—via digitization—into the virtual. The title derives from a well-known continuum fallacy—in which a change is said to be impossible because its exact moment of arrival cannot be discerned. Via a distorted collage of YouTube clips, many of which depict extreme physical incidents, the piece attempts to make manifest transformation, to attempt—even if in vain—a better apprehension of the transitive.