Film director Caroline Avery: biography, career, and where

Fourth of July

Caroline Avery

"Unable to attend official functions, I discover instead the adolescents in the streets."

Fourth of July

1988

США

Midweekend

Caroline Avery

Great Society-era, social services, "how to" films from the 1960s and other footage from travel, education, documentary, edited with densely-painted film leader in rapid sequences of one to three-frame splices.

Midweekend

1985

Snow Movies

Caroline Avery

SNOW MOVIES (1983) was shot in the winter landscape of upstate New York and in snowbound Cambridge, Massachusetts. I have broken down the various purviews and scales to two dimensions with pixilation and framing. Phil S. says it is a capsulized version of the history of Western painting (I paraphrase).

Snow Movies

1983

США

Cross Road

Caroline Avery

CROSS ROAD (1988) was a film made after having fallen down on my knees. A painted salutation to Hermes.

Cross Road

1988

США

Big Brother

Caroline Avery

BIG BROTHER (1983) is a comic book/collage film. The images are taken from commercials and other commercially released films as well as my own shooting. Sections of frames were cut out and then placed into Super 8 film frames which had been painted upon, a mouth here, a leg there. This film can also be read like a comic strip on the rewinds. The film was blown up to 16mm. Ironically my hope had been to keep the film in Super 8 as a discourse on gauge chauvinism, one of the implications in the title.

Big Brother

1983

США, документальный

Unnamed Film

Caroline Avery

A short collage revealing invisible phenomena.

Unnamed Film

1989

Pilgrim's Progress

Caroline Avery

A discourse on marketing through images. The "surface" is an abstract potpourri of polyrhythms, "named" items jumping into recognition here and there. I pulled magazine ink off the page with scotch tape and glued the tape strips onto film leader and rephotographed. It is a tale of coming to terms, of suspended disbeliefs.

Pilgrim's Progress

1983

США

The Living Rock

Caroline Avery

A statement directed at the limbic mind about secondary forms of communication developed over time to compensate for the cultural denial of primary signals, creating a feed back loop as secondary responds to secondary, leaving the primary, the limbic behind. It is a cautionary tale.

The Living Rock

1989

Flap

Caroline Avery

FLAP (1983) is a very direct approach to moviemaking. A 3x5 card waved in front of the line of a projector beam, shot from a perpendicular angle to the projector. A good old-fashioned light/shadow play.

Flap

1983

США

First of May

Caroline Avery

A two minute epic of sorts. Desires surface. A kind of decay sets in. Water gives in to gravity carrying off the fading effects of gaudy, carnal dawn.

First of May

1984

Dancer for the Coronation

Caroline Avery

The Twined Shadow of the Dance. One dancer folding back upon herself.

Dancer for the Coronation

1988

Cassandra

Caroline Avery

"If a body meet a body, comin' through the rye. If a body kiss a body, make a body cry"-- From an old folk song, "Comin' Through the Rye." This painted film is for the daughter of Troy as it fell to the Greeks and to all girls seeking womanhood by way of tears.

Cassandra

1989

США

Sontag Platz

Caroline Avery

SONTAG PLATZ (1982) is a word to Paul Klee. The first film upon which I painted. The texture here is smoother and the forms closed more than in theater films. Still I was occupied with the concerns I held dear as a painter.

Sontag Platz

1986

США

Ready Mades in Hades

Caroline Avery

Photographed in East Sommerville, MA. An empty lot piled with garbage and remnants of the past lives of its nearby residents cut in with the brave laundry of a preset set of inhabitants next door, the children of whom roam through this claustrophobic making their own private sense of it all.

Ready Mades in Hades

1987