A TRAP FOR THE LOOKING (Undermining the Overview, part 2) From Februari 23=
rd until April 2nd, 2003.



Smart Project Space presents a free video program every Wednesday and Sunda=
y at 17.00 hrs at Smart Cinema. Curated by Lee Ellickson

1st Constantijn Huygensstraat 20, Amsterdam. Info:+31-(0)20-4275951



This video program accompanies the exhibition "A Snare for the Eye", curate=
d by Alice Smits.

Opening Saturday February 22nd, 21:00 hrs. Open from 22nd February until 3=
0th March 2003.



February 23, Sunday and February 26, Wednesday, 17.00 hrs.

The Quay Brothers, "Dramolet (Still Nacht 1)" (1998, UK, 1.5 min) An unse=
ttling curtain raiser to ponder what you see and what you get.
Georges Melies, "The Untamable Whiskers" (1904, France, 5 min.) Visual tra=
nsformations with the ease of drawing: Ce n'est pas un barbe!
David Lynch,"Hollywood" (1995, USA, 2 min.) A one shot wonder in three par=
ts: documenting the shooting, the shot itself which defies you to imagine =
it as a single shot and the director's final comment.
Eleanor Antin, "The Last Night of Rasputin" (1988, USA, 38 min.) Californi=
an artist Antin's supreme "Antinova" achievement: the recreation of a sile=
nt Russian epic that details the kidnapping and captivity of her mythic sel=
f.
Theo Angelopoulos, "In Which Foreign Country Have I Landed?" (1995, Greece=
, 1.5 min.) Odysseus is washed ashore and forced to ponder a new and confo=
unding trap.
Georges Melies, "The Eclipse: The Courtship of the Sun and Moon" (1907, F=
rance, 10 min.) Astronomers run wild with excitement at the prospect of ca=
pturing a unique event with the help of their trusty telescopes.
Hamish Fulton, "Light Confrontation" (1971, UK, 1, 5 min.) The snare her=
e takes the form of a flashlight.
Helma Sanders, "Hommage a Louis Cochet, chief electrician, artisan de la Lu=
miere depuis 1931…" (1995, Germany, 2 min.) A symphonic tribute to Monsi=
eur Cochet, he who harnessed the velvet light trap.
Fred Fishbeck, "A Movie Star" (1916, USA, 12 min.) A self reflexive snare:=
Keystone Cop Mack Swain is caught in a movie theater in the audience in f=
ront of one of his own films and reality continues to close the trap around=
him.
Rene Clair, "The Wax Museum Sequence" (1925, France, 10 min.) Another ana=
rchic dream where the creatures of the Id animate wax figures who come aliv=
e to hold a tribunal to try a guilty dog.
Paul Leni, "Waxworks" (1921, Germany, 63 min.) German expressionist benchm=
ark set in the wax museum where the eye is under pressure to identify what =
is real and what may not be.


March 2, Sunday and March 5, Wednesday, at 17.00 hrs.

Tetsuo Mizuno, "A Stone" (1984, Japan, 8min.) To the activated eye a ston=
e contains more than one can think.

Abbas Kiarostami, "Message" (1995, Iran) Here is a witty wake-up call tha=
t you need not answer.
William Wegman and Man Ray, "Correction" (1972, USA) Man Ray learns the d=
ifference between a word that looks like another word and the word itself.
Andre Schwyn, "Enlightenment" (2001, Switzerland) The ceaseless desire to=
visualize what one attains.
Lina Wertmuller, "Prelude (to Pasqualino Setzebelieze)" (1976, Italy, 5 mi=
n.) Lina lets them have it and she's sure to give them enough rope while s=
he's at it. This is for all leaders and their images as well!
John Boorman, "Preparations for Shooting" (1995, UK, 2 min.) The traffic =
of the making of images and the images in the making.
Max Almy, "A Perfect Leader" (1983, USA, 7 min.) Another image is pounded=
out on the assembly line.
Joe Goodman and associates, "Now it is Time for all Good Men" (1959, USA, =
1 min.) What was always called 'paid political advertising'.
William Wegman and Man Ray, "Now is the Time for all Good Dogs, or Which s=
ide are you on?" (1971, USA) The predicament of everyone open to a little=
persuasion.
Russell Calabrese, Doug Compton and Greg Ford, "No Substitute" (1996, USA, =
1,5 min.) Recognition of how tough it is for political figures to keep up =
the image. Richard Nixon was no less than heroic in this contest.
Peter Callas, "Double Trouble" (1988, Australia, 5 min) Further considera=
tion on trying to separate the one from the other.
Juan Downey, "The Looking Glass" (1989, USA, 29 min.) An incisive study t=
hat divides images from what they contain and what they may be.
Eva Staehle, "Zwischen (Between)" (1998, Switzerland, 3 min.) Two simultan=
eous images of the world around us poses an elegant problem.
Mao Kawaguchi, "Tuelo" (1985, Japan, 8 min.) The image of the terrain is =
subject to further division. The terrain presented is that of Angola.
Guy Sherwin, "Filter Beds" (1998, UK, 9 min.) Planes of focus that catch =
the eye and create a temporary space.
The Quay Brothers, "Rehearsal for Extinct Anatomies" (1987, UK, 14 min.) =
The visual planes subdivide into alternate focus and alternate knowledge.
Joseph Strick, Ben Maddow and Sidney Meyers, "The Savage Eye" (1960, USA, =
63 min.) Documentary images burn through the consciousness of the somewhat=
fictional character presented here who finds herself the victim of a real =
life movie from which there is no escape.


March 9, Sunday and March 12, Wednesday, at 17.00 hrs.

Van Heusen and company, "In an Animation Studio" (1931, USA, 8 min.) An ins=
ider's view of the studio located just across the street from the much bett=
er known Fleischer Brothers studio that proves that the images were just as=
out of control here if not more so.
Max Almy, "Lost in the Image" (1985, USA, 6 min.) Where is the place for =
one who makes images by day and watches them by night?
Max and Dave Fleischer, "HA HA HA" (1932, USA, 6 min) Out of the ink well=
, onto the paper, off the paper and somewhere, elsewhere, way out there.
Peter Callas, "Night's High Noon" (1988, Australia, 8 min.) Here comes on=
e big image show down, so draw!
Rudolf Snafu, "Booby Traps" (1942, USA, 5 min.) Wartime shenanigans that t=
each us to think twice.
A.C. Stephens, "Shower Scene" (1968, USA, 5 min.) One more booby trap.
Walter Williams, "Mr. Bill Gets Hypnotized" (1975, USA, 2 min) The little=
guy always takes it the hard way.
Ante Bozanich, "Alarm" (1980, Yugoslavia/USA, 10 min.) Another illustratio=
n, though the guy is not as little, he still takes it pretty hard.
Takashi Inagaki, "Fake Flicker" (1985, Japan, 7 min.) By now it becomes c=
lear that it is in part a matter of too much exposure to television.
Jeannette Mehr, "Fernsehfilm" (1999, Switzerland, 3 min) Perhaps the tele=
vision itself might take on another guise. =
=
=
=


Michael Haneke, "Extracts from the Broadcast News of March 19, 1995, the bi=
rthday of the first film shot on March, 19, 1895" (1995, Austria, 1 min.) =
A centenary celebration of the first film shot ever taken.
Joseph Beuys, "Confrontations with the Television" (1970, Germany, 6 min.)=
Here is a battle which verges on the metaphysical.
Fritz Lang, "The 1,000 Eyes of Dr. Mabuse" (1960, Germany, 99 min.) The n=
ew old metaphor for our times: total control and total paranoia. Dr. Mabu=
se's name is popping up so frequently now it's time for another rash of seq=
uels.

March 16, Sunday and March 19, Wednesday at 17:00 hrs.

Ante Bozanich, "Scratch" (1980, Yugoslavia, USA, 6 min.) First confront y=
our maker.
Costa Gavras, "Shot" (1995, France, 2 min) Consider this image to be like=
a magnet.
Klaus vom Bruch, "Jeder Schuss ein Treffer (Every Shot a Hit)" (1984, Ger=
many, 9 min.) A typically relentless exercise that insists that you get th=
e point even if it is only at the end of a stick.
Enrico Farrucci, "Movement from Camille Symphony" (2000, Italy, 4 min.) A=
nother pointed exercise in capturing the image, the moment of desiring or =
just obsession itself.
Alain Corneau, "Hommage a Loie" (1995, France, 3 min) One way to skirt a=
ll those traps is just to keep dancing.
Georges Melies, "Tchin Chao, The Chinese Conjuror" (1904, France, 5 min.) =
More than meets the eyes, he takes them.
William Wegman, "Wide Eyed Story" (1971, USA, 3 min.) We won't spoil the =
story here.
Ante Bozanich, "Four Works to View" (1974-1977, Yugoslavia/USA, 16 min.) =
A movement from the image of the self to the image of the other and finding=
some way back again without slipping.
Ken Kobland, "Foto Roman" (1990, USA, 26 min.) Some noirish passing of ti=
me which leads to the inevitable trapping of the voyeur.
Enrico Farrucci, "Pretty Ugly" (1998, Italy, 5 min.) The voyeur's conundr=
um: Is she crying or is she laughing, is this pleasure or is this pain? I=
s it cruelty for her or cruelty for you?
Viktor Kolibal, "Eye" (2000, Switzerland, 3 min.) The weighing of opposin=
g forces.
Andre Konchalovsky, "It Doesn't Work, We Can See Only The Earth" (1995, F=
rance, 1.5 min.) The pressure brought to bear when stalking the great subl=
ime.
Peter Callas, "The Aesthetics of Disappearance" (1986, Australia, 6 min.)=
An unavoidable territory for the image trapper with Callas' signature lay=
ering of compulsive and restless images.
Douglas Davis, "Post Video" (1981, USA, 29 min.) This piss-in-your-pants =
funny explication of Davis' oeuvre may not be intended as a total send up o=
f seventies concept art but it will do just fine, thank you.
Robert Fuest, "The End of the Final Programme" (1973, UK, 5 min.) It's f=
arewell to the sixties and the seventies and everything else but maybe it's=
just back to the drawing board.
Patrick McGoohan, The Final Episode of "The Prisoner" (1968, UK, 54 min.)=
This was when all television time and space was flipped inside out once a=
nd for all and we haven't been able to stop living in it. Will the final e=
pisode ever end?


March 23, Sunday and March 26, Wednesday, at 17,00 hrs.

Gabriel Axel, "Academic Study" (1995, Denmark, 3 min) One process simply =
begats another. There's the rub.
Danielle and Jacques Louis Nyst, "L'Image" (1987, Belgium, 42 min.) The N=
ysts are forever hunting the wild visual paradox and this charming essay le=
aves no image unaltered.
The Quay Brothers, "Anamorphosis" (1991, UK, 15 min.) A revealing of ar=
cane knowledge in the process of image production and perception.
Danielle and Jacques Louis Nyst, "Hyaloide" (1995, Belgium, 27 min.) We d=
elve deeper into the arcana of the voracious image.
Werner Nekes, "Film Before Film" (1986, Germany, 83 min) A thorough going=
tour through centuries of attempts to manifest an image with every kind of=
media imaginable.


March 30, Sunday and April 2, Wednesday, at 17.00 hrs.

Marcel Duchamp, "Anemic Cinema" (1926, France, 3 min) A roundabout way of=
coming to grips with the thing at hand.
M.C. Escher, "A Few Observations from Maurits Escher" (1967, USA, 27 min,)=
The master of the image trap explores his world and lets a thought or tw=
o wander freely.
Merzak Allouache, "Interdit de Camerer" (1995, Algeria, 1 min) The Algeria=
ns have their own verb which is also an adjective. Here a couple are "came=
red" and it doesn't pass without notice.
Georges Melies, "Long Distance Wireless Photography" (1907, France, 7 min=
.) Here is another approach that one may not have thought of.
Peter Callas, "Kinema No Yoru" (1984, Australia, 3 min.) Our own mental c=
opy machine of double cinema where we subject the image to another image ti=
me and again.
Youssef Chahine, "Stop! Cinema is a sin!" (1995, Egypt, 3 min.)
Though big images may reign, little images may strike back and really come =
out slugging.
Jean-luc Godard, "Scenario du film Passion" (1982, France, 54 min.)
Godard struggles with a scenario that has no words, only images, and seeks =
another way out of the usual trap of the images we perceive and take for gr=
anted.
Claude Lelouch, "More Passion Please!" (1995, France, 1 min) Some people =
just can't get enough.
Fletcher Markle, with Alfred Hitchcock, "Telescope in two parts" (1964, Ca=
nada, 56 min.) Another master of the image trap is given the last word her=
e, on the set while shooting his masterwork of entrapment "Marnie". This =
program was originally broadcast on Canadian television.

SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const. Huygensstraat 20
Opening times: Tues-Sat from 12.00-22.00, Sun from 14.00-22.00 hrs.
Mail to: P.O.Box 15004, NL-1001 MA Amsterdam
Phone: +31 20 427.5951
Fax.: +31 20 427.5953
mail: info@smartprojectspace.net

If this e-mail was forwarded to you by way of someone other then SMART Proj=
ect Space, and you would appreciate to receive further mailings announcing =
exhibitions at SMART Project Space, you can send mail to info@smartprojects=
pace.net with the following command in the body of your email message: "sub=
scribe e-mailing SPS"

If you would want to remove yourself from this mailing list, you can send m=
ail to info@smartprojectspace.net with the following command in the body of=
your email message: "unsubscribe e-mailing SPS"

A TRAP FOR THE LOOKING (Undermining the Overview, part 2) From Februari 23=
rd until April 2nd, 2003.



Smart Project Space presents a free video program every Wednesday and Sunda=
y at 17.00 hrs at Smart Cinema. Curated by Lee Ellickson

1st Constantijn Huygensstraat 20, Amsterdam. Info:+31-(0)20-4275951



This video program accompanies the exhibition "A Snare for the Eye", curate=
d by Alice Smits.

Opening Saturday February 22nd, 21:00 hrs. Open from 22nd February until 3=
0th March 2003.



February 23, Sunday and February 26, Wednesday, 17.00 hrs.

The Quay Brothers, "Dramolet (Still Nacht 1)" (1998, UK, 1.5 min) An unse=
ttling curtain raiser to ponder what you see and what you get.
Georges Melies, "The Untamable Whiskers" (1904, France, 5 min.) Visual tra=
nsformations with the ease of drawing: Ce n'est pas un barbe!
David Lynch,"Hollywood" (1995, USA, 2 min.) A one shot wonder in three par=
ts: documenting the shooting, the shot itself which defies you to imagine =
it as a single shot and the director's final comment.
Eleanor Antin, "The Last Night of Rasputin" (1988, USA, 38 min.) Californi=
an artist Antin's supreme "Antinova" achievement: the recreation of a sile=
nt Russian epic that details the kidnapping and captivity of her mythic sel=
f.
Theo Angelopoulos, "In Which Foreign Country Have I Landed?" (1995, Greece=
, 1.5 min.) Odysseus is washed ashore and forced to ponder a new and confo=
unding trap.
Georges Melies, "The Eclipse: The Courtship of the Sun and Moon" (1907, F=
rance, 10 min.) Astronomers run wild with excitement at the prospect of ca=
pturing a unique event with the help of their trusty telescopes.
Hamish Fulton, "Light Confrontation" (1971, UK, 1, 5 min.) The snare her=
e takes the form of a flashlight.
Helma Sanders, "Hommage a Louis Cochet, chief electrician, artisan de la Lu=
miere depuis 1931…" (1995, Germany, 2 min.) A symphonic tribute to Monsi=
eur Cochet, he who harnessed the velvet light trap.
Fred Fishbeck, "A Movie Star" (1916, USA, 12 min.) A self reflexive snare:=
Keystone Cop Mack Swain is caught in a movie theater in the audience in f=
ront of one of his own films and reality continues to close the trap around=
him.
Rene Clair, "The Wax Museum Sequence" (1925, France, 10 min.) Another ana=
rchic dream where the creatures of the Id animate wax figures who come aliv=
e to hold a tribunal to try a guilty dog.
Paul Leni, "Waxworks" (1921, Germany, 63 min.) German expressionist benchm=
ark set in the wax museum where the eye is under pressure to identify what =
is real and what may not be.


March 2, Sunday and March 5, Wednesday, at 17.00 hrs.

Tetsuo Mizuno, "A Stone" (1984, Japan, 8min.) To the activated eye a ston=
e contains more than one can think.

Abbas Kiarostami, "Message" (1995, Iran) Here is a witty wake-up call tha=
t you need not answer.
William Wegman and Man Ray, "Correction" (1972, USA) Man Ray learns the d=
ifference between a word that looks like another word and the word itself.
Andre Schwyn, "Enlightenment" (2001, Switzerland) The ceaseless desire to=
visualize what one attains.
Lina Wertmuller, "Prelude (to Pasqualino Setzebelieze)" (1976, Italy, 5 mi=
n.) Lina lets them have it and she's sure to give them enough rope while s=
he's at it. This is for all leaders and their images as well!
John Boorman, "Preparations for Shooting" (1995, UK, 2 min.) The traffic =
of the making of images and the images in the making.
Max Almy, "A Perfect Leader" (1983, USA, 7 min.) Another image is pounded=
out on the assembly line.
Joe Goodman and associates, "Now it is Time for all Good Men" (1959, USA, =
1 min.) What was always called 'paid political advertising'.
William Wegman and Man Ray, "Now is the Time for all Good Dogs, or Which s=
ide are you on?" (1971, USA) The predicament of everyone open to a little=
persuasion.
Russell Calabrese, Doug Compton and Greg Ford, "No Substitute" (1996, USA, =
1,5 min.) Recognition of how tough it is for political figures to keep up =
the image. Richard Nixon was no less than heroic in this contest.
Peter Callas, "Double Trouble" (1988, Australia, 5 min) Further considera=
tion on trying to separate the one from the other.
Juan Downey, "The Looking Glass" (1989, USA, 29 min.) An incisive study t=
hat divides images from what they contain and what they may be.
Eva Staehle, "Zwischen (Between)" (1998, Switzerland, 3 min.) Two simultan=
eous images of the world around us poses an elegant problem.
Mao Kawaguchi, "Tuelo" (1985, Japan, 8 min.) The image of the terrain is =
subject to further division. The terrain presented is that of Angola.
Guy Sherwin, "Filter Beds" (1998, UK, 9 min.) Planes of focus that catch =
the eye and create a temporary space.
The Quay Brothers, "Rehearsal for Extinct Anatomies" (1987, UK, 14 min.) =
The visual planes subdivide into alternate focus and alternate knowledge.
Joseph Strick, Ben Maddow and Sidney Meyers, "The Savage Eye" (1960, USA, =
63 min.) Documentary images burn through the consciousness of the somewhat=
fictional character presented here who finds herself the victim of a real =
life movie from which there is no escape.


March 9, Sunday and March 12, Wednesday, at 17.00 hrs.

Van Heusen and company, "In an Animation Studio" (1931, USA, 8 min.) An ins=
ider's view of the studio located just across the street from the much bett=
er known Fleischer Brothers studio that proves that the images were just as=
out of control here if not more so.
Max Almy, "Lost in the Image" (1985, USA, 6 min.) Where is the place for =
one who makes images by day and watches them by night?
Max and Dave Fleischer, "HA HA HA" (1932, USA, 6 min) Out of the ink well=
, onto the paper, off the paper and somewhere, elsewhere, way out there.
Peter Callas, "Night's High Noon" (1988, Australia, 8 min.) Here comes on=
e big image show down, so draw!
Rudolf Snafu, "Booby Traps" (1942, USA, 5 min.) Wartime shenanigans that t=
each us to think twice.
A.C. Stephens, "Shower Scene" (1968, USA, 5 min.) One more booby trap.
Walter Williams, "Mr. Bill Gets Hypnotized" (1975, USA, 2 min) The little=
guy always takes it the hard way.
Ante Bozanich, "Alarm" (1980, Yugoslavia/USA, 10 min.) Another illustratio=
n, though the guy is not as little, he still takes it pretty hard.
Takashi Inagaki, "Fake Flicker" (1985, Japan, 7 min.) By now it becomes c=
lear that it is in part a matter of too much exposure to television.
Jeannette Mehr, "Fernsehfilm" (1999, Switzerland, 3 min) Perhaps the tele=
vision itself might take on another guise. =
=
=
=


Michael Haneke, "Extracts from the Broadcast News of March 19, 1995, the bi=
rthday of the first film shot on March, 19, 1895" (1995, Austria, 1 min.) =
A centenary celebration of the first film shot ever taken.
Joseph Beuys, "Confrontations with the Television" (1970, Germany, 6 min.)=
Here is a battle which verges on the metaphysical.
Fritz Lang, "The 1,000 Eyes of Dr. Mabuse" (1960, Germany, 99 min.) The n=
ew old metaphor for our times: total control and total paranoia. Dr. Mabu=
se's name is popping up so frequently now it's time for another rash of seq=
uels.

March 16, Sunday and March 19, Wednesday at 17:00 hrs.

Ante Bozanich, "Scratch" (1980, Yugoslavia, USA, 6 min.) First confront y=
our maker.
Costa Gavras, "Shot" (1995, France, 2 min) Consider this image to be like=
a magnet.
Klaus vom Bruch, "Jeder Schuss ein Treffer (Every Shot a Hit)" (1984, Ger=
many, 9 min.) A typically relentless exercise that insists that you get th=
e point even if it is only at the end of a stick.
Enrico Farrucci, "Movement from Camille Symphony" (2000, Italy, 4 min.) A=
nother pointed exercise in capturing the image, the moment of desiring or =
just obsession itself.
Alain Corneau, "Hommage a Loie" (1995, France, 3 min) One way to skirt a=
ll those traps is just to keep dancing.
Georges Melies, "Tchin Chao, The Chinese Conjuror" (1904, France, 5 min.) =
More than meets the eyes, he takes them.
William Wegman, "Wide Eyed Story" (1971, USA, 3 min.) We won't spoil the =
story here.
Ante Bozanich, "Four Works to View" (1974-1977, Yugoslavia/USA, 16 min.) =
A movement from the image of the self to the image of the other and finding=
some way back again without slipping.
Ken Kobland, "Foto Roman" (1990, USA, 26 min.) Some noirish passing of ti=
me which leads to the inevitable trapping of the voyeur.
Enrico Farrucci, "Pretty Ugly" (1998, Italy, 5 min.) The voyeur's conundr=
um: Is she crying or is she laughing, is this pleasure or is this pain? I=
s it cruelty for her or cruelty for you?
Viktor Kolibal, "Eye" (2000, Switzerland, 3 min.) The weighing of opposin=
g forces.
Andre Konchalovsky, "It Doesn't Work, We Can See Only The Earth" (1995, F=
rance, 1.5 min.) The pressure brought to bear when stalking the great subl=
ime.
Peter Callas, "The Aesthetics of Disappearance" (1986, Australia, 6 min.)=
An unavoidable territory for the image trapper with Callas' signature lay=
ering of compulsive and restless images.
Douglas Davis, "Post Video" (1981, USA, 29 min.) This piss-in-your-pants =
funny explication of Davis' oeuvre may not be intended as a total send up o=
f seventies concept art but it will do just fine, thank you.
Robert Fuest, "The End of the Final Programme" (1973, UK, 5 min.) It's f=
arewell to the sixties and the seventies and everything else but maybe it's=
just back to the drawing board.
Patrick McGoohan, The Final Episode of "The Prisoner" (1968, UK, 54 min.)=
This was when all television time and space was flipped inside out once a=
nd for all and we haven't been able to stop living in it. Will the final e=
pisode ever end?


March 23, Sunday and March 26, Wednesday, at 17,00 hrs.

Gabriel Axel, "Academic Study" (1995, Denmark, 3 min) One process simply =
begats another. There's the rub.
Danielle and Jacques Louis Nyst, "L'Image" (1987, Belgium, 42 min.) The N=
ysts are forever hunting the wild visual paradox and this charming essay le=
aves no image unaltered.
The Quay Brothers, "Anamorphosis" (1991, UK, 15 min.) A revealing of ar=
cane knowledge in the process of image production and perception.
Danielle and Jacques Louis Nyst, "Hyaloide" (1995, Belgium, 27 min.) We d=
elve deeper into the arcana of the voracious image.
Werner Nekes, "Film Before Film" (1986, Germany, 83 min) A thorough going=
tour through centuries of attempts to manifest an image with every kind of=
media imaginable.


March 30, Sunday and April 2, Wednesday, at 17.00 hrs.

Marcel Duchamp, "Anemic Cinema" (1926, France, 3 min) A roundabout way of=
coming to grips with the thing at hand.
M.C. Escher, "A Few Observations from Maurits Escher" (1967, USA, 27 min,)=
The master of the image trap explores his world and lets a thought or tw=
o wander freely.
Merzak Allouache, "Interdit de Camerer" (1995, Algeria, 1 min) The Algeria=
ns have their own verb which is also an adjective. Here a couple are "came=
red" and it doesn't pass without notice.
Georges Melies, "Long Distance Wireless Photography" (1907, France, 7 min=
.) Here is another approach that one may not have thought of.
Peter Callas, "Kinema No Yoru" (1984, Australia, 3 min.) Our own mental c=
opy machine of double cinema where we subject the image to another image ti=
me and again.
Youssef Chahine, "Stop! Cinema is a sin!" (1995, Egypt, 3 min.)
Though big images may reign, little images may strike back and really come =
out slugging.
Jean-luc Godard, "Scenario du film Passion" (1982, France, 54 min.)
Godard struggles with a scenario that has no words, only images, and seeks =
another way out of the usual trap of the images we perceive and take for gr=
anted.
Claude Lelouch, "More Passion Please!" (1995, France, 1 min) Some people =
just can't get enough.
Fletcher Markle, with Alfred Hitchcock, "Telescope in two parts" (1964, Ca=
nada, 56 min.) Another master of the image trap is given the last word her=
e, on the set while shooting his masterwork of entrapment "Marnie". This =
program was originally broadcast on Canadian television.

SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const. Huygensstraat 20
Opening times: Tues-Sat from 12.00-22.00, Sun from 14.00-22.00 hrs.
Mail to: P.O.Box 15004, NL-1001 MA Amsterdam
Phone: +31 20 427.5951
Fax.: +31 20 427.5953
mail: info@smartprojectspace.net

If this e-mail was forwarded to you by way of someone other then SMART Proj=
ect Space, and you would appreciate to receive further mailings announcing =
exhibitions at SMART Project Space, you can send mail to info@smartprojects=
pace.net with the following command in the body of your email message: "sub=
scribe e-mailing SPS"

If you would want to remove yourself from this mailing list, you can send m=
ail to info@smartprojectspace.net with the following command in the body of=
your email message: "unsubscribe e-mailing SPS"