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The works of Fred Worden from 1972 to the present. In addition to the films listed, the Program Note for each work as well as the reviews are indicated. Works containing reviews link to that full respective page.

  • 2007-2011

    • 2010
      • POSSESSED, 9 Min., HDV, 2010
        • Program Note: Once, when I was about 18 years old, my friend Eddie Moulton and I were taking a short cut across the local high school parking lot and we happened to notice that one of the school buses parked there had an open door and we could see the keys sitting on the driver's seat. It was a Sunday afternoon and no one was around, so just for the illicit thrill of it we got in and drove the bus from one end of the school parking lot to the other. I think if the cops had caught us driving the bus, the charge would have been something like "joy riding." A similar impulse explains Possessed. I had a strong, slightly illicit, urge to commandeer the original train sequence from the 1932 film, Possessed and make it move in such a way as to give the girl (Joan Crawford) what she thought she wanted: a position on the inside. To do that, I had to create my own (all encompassing) vehicle. By my count, the original sequence provides three orders of motion: the motion (and stillness) of the passengers on the train, the motion of the train itself, and finally the motion of the girl (Joan) outside of the train. By injecting my own additional level of motion, I was able to move Joan from her position on the outside looking in (played melodramatically as desire's longing for the just-out-of-reach) to a position inside, looking around (played as pure vision). But maybe that's really just my fanciful imagining and, as such, pretty much situates me in Joan's original position: projecting desire onto a handy passing vehicle. In the end, at least this much is true: we both love staring into this passing train. In fact, we never seem to tire of it. Soundtrack by Michael Schumacher. FW

    • 2009
      • ALL MY LIFE, 20 Min., DV
        • Program Note: A dramatic weather front led to images that in turn invoked memories of Bruce Baillie's 1966 film of the same name. The passage of time would seem to be the common theme that both films share.

    • 2008
      • 1859, 11 min., DV -Contains Review

        • 1859

          Review: 1859, 11 min., DV
          Program Note: "The political or cultural aspects of history are the mere surface of history; that in preference to, and deeper than these, the reality of history lies in biological power, in pure vitality, in what is in man of cosmic energy, not identical with, but related to, the energy which agitates the sea, fecundates the beast, causes the tree to flower and the star to shine." -Ortega y Gasset, The Revolt of the Masses, 1930

          "Built out of a 30-frame clip of a lens flare. LSD is illegal, 1859 is not." FW

      • WHEN WORLDS COLLUDE, 13 Min., DV -Contains Review

        • When Worlds Collude

          Review: WHEN WORLDS COLLUDE, 13 Min., DV
          Program Note: "Is there, we ask, some secret language which we feel and see but never speak, and, if so, could this be made visible to the eye? Is there any characteristic which thought possesses that can be rendered visible without the help of words?" -Virginia Woolf, The Cinema, 1926

          "An experimental film structured as a kind of specialized playground in which highly representational images are freed from their duties to refer to things outside of themselves. The images run free in their new lightness making unforeseeable, promiscuous connections with each other and developing an inexplicable, non-parsable plot line that runs along with all the urgency of any good thriller. When worlds collude, something outside of description is always just about to happen." FW

    • 2007
      • THE AFTER LIFE, 15 min., DV -Contains Review

        • The After Life

          Review: THE AFTER LIFE, 15 min., DV
          Program Note: I made THE AFTER LIFE using images out of a 98 dollar mini-camcorder called a Flip that I bought on Amazon.com. All I did with the material was work with arrangements of frames along a timeline to setup what Eisenstein called "collisions" (for him a colliding of shots, for me a colliding of frames). On rare occasions, Eisenstein substituted the word "copulation" for the word "collision" in describing the dynamics of his montage theory. In THE AFTER LIFE it's all copulation all the time. Bodies attract, bodies intersect and new creatures stream forth. In THE AFTER LIFE uninhibited promiscuity is what makes the world go round. It can't be all bad.

      • TIME'S ARROW, 11 min., DV -Contains Review

        • Time's Arrow

          Reviews: TIME'S ARROW, 11 min., DV
          Program Note: Time's arrow is a term coined by British astronomer Arthur Eddington in 1928 to describe the directionality of time. He cast it as a one-way street aimed into the future. Out on my freeway, directionality is elusive. The faces in the windows appear and then disappear, some moving out ahead, some falling behind, some moving so fast as to be beyond registering, others sliding by so languidly you'd think they want something from you. Each time I think to myself: one more person I'll never know. FW

      • NORTH SHORE, 11 min., DV -Contains Review
  • 2001-2006

    • 2006
    • 2005
      • HERE, 11 min., DV-Contains Review
        • Review: HERE, 11 min., DV
          Program Note: HERE is a place, an optical location brought into being through conjuring in order to accommodate a clandestine rendezvous between Sir Laurence Olivier and Georges Melies. Early cinema audiences, we are told, were mesmerized by the cinematic apparitions and impossible cavortings realized by the sly Melies. Those first paying customers had, apparently, no need for plots, movie stars or sharp ideas. Direct conjuring was more than enough. Could that work HERE? FW

      • 2005 BLUE POLE(S), 20 min., DV

        • Blue Poles

          Program Note: A digital continuation of my long-standing interest in an optical/perceptual cinema, Blue Pole(s) tries hard to up the ante on the notion that film is a visual rather than literary art and that seeing as a perceptual process precedes and models thought. Music by Tom Hamilton. FW

    • 2004
      • AMONGST THE PERSUADED, 23 min., DV

        • Amongst the Persuaded

          Program Note: The human susceptibility to delusional thinking has, at least, this defining characteristic: easy to spot in others, hard to see in oneself. The filmmaker, racked by the inescapable observation that it is delusional thinking that is the common denominator driver of so many contemporary man-made disasters gins up a vehicle meant to ruthlessly uncover and expose his own particular brand of pathological believing. This film is about us. I believe its true. See the iron jaws of the mechanism at work as the filmmaker falls into the biggest and most obvious delusion of all: the belief that he can master his own delusions by making a film about them.

    • 2003
      • IF ONLY, 7 min., 16mm
        • Program Note: The bubble shaped orb of the human head, perched atop its touchy-feely transport system has seven moist openings through which everything outside comes in: two eyes, two nostrils, one mouth and two ears. Inside the bubblehead, bubble universes spawn ad infintum and the only passable direction is directly into the steady headwinds of an ever-advancing infinity of veils. A high wire bobbing and weaving just to stay upright. These artful if endless veil penetrations are at once the human job description as well as nature's shot at vindicating the transient in the face of the impassive infinite. Nature makes the orifices moist so things can stick, at least momentarily.

          And so the intoxicated camera operator shoots the moon slipping through the barren trees. The rabbit hole's light shadow appears and he obliges, head first, no looking back. His cranium (like yours) is packed with illusions, but down the rabbit hole they treasure the same just so long as they're custom fabricated, hand tooled and conscious. Down this hole, stalking the unforeseen non-translatable is all. Join in here. FW

    • 2001
      • THE OR CLOUD, 7 min., 16mm

        • The Or Cloud

          Program Note: A guided adventure for the eyeballs. And as such, also, of necessity, an adventure of the mind (how could it be otherwise?). I believe there is a current which runs at the core of all beings, call it the life force, a dynamic which in individuals reflects both the personal and the universal. Up on the screen, frames in motion, a rushing stream of articulated energy to resonate with that inner biological current. Adventurous eyeballing then, in the ideal, an epiphanous moment of mutual recognition and commiseration between energy forms. "There is a vibration which exists to enrapture and console us." (Rilke). I like to think this vibration can be detected streaming out of The Or Cloud. FW

  • 1986-2000

    • 2000
      • AUTOMATIC WRITING 2, 12 min., 16mm
        • Program Note: Continued explorations of automatism as a practical guide to negotiating the mysterious zone where light and no-light flutter in a fecund equipoise. A homemade rocket to realms unknown to any movie camera or photo lens. In the end, perhaps nothing more than a search for an experience of continuity, a kind of sanity. Failing sanity, a wild ride at least. FW

    • 1998
      • ONE, 25 min., 16mm -Contains Review
        • Reviews: ONE, 25 min., 16mm
          Program Note: One. One frame in play. Infused with the elemental energies of cinema and turned on itself this meager frame (happenstance's visage) sheds its pictorial guise and atomizes into sheer dynamic. Light and No-light areas in continuously streaming interplay. Trajectoried to shoot right past the discursive mind and jigger directly the brain's electro-chemical neural flows, seedbed to every single thought or feeling. A cinema of pure energy climbing out along an axis of its own invention. FW

    • 1992
      • INTRODUCTION TO THE SECRET SOCIETY, 9 min., 16mm
    • 1990
      • BREAKOUT, 10 min., 16mm
    • 1989
      • HOW THE HELL I RIPPED JACK GOLDSTEIN'S PAINTING IN THE ELEVATOR, 23 min., 16mm
      • BOULEVARD, 9 min., 16mm
    • 1986
      • LURE, 7 min., 16mm
  • 1972-1985

    • 1985
      • PLOTTING THE GREY SCALE: 2 or 3 Quick Traversis, 7 min., 16mm
    • 1983
      • HERE, THERE, NOW, LATER, 3 min., 16mm
    • 1981
      • INSOMNIA, 6 min., 16mm
    • 1976
      • VUDOO, 8 min., 16mm
    • 1975
      • FOUR FRAMES, 5 min., 16mm
    • 1973
    • 1972
      • NOW YOU CAN DO ANYTHING, 5 min., 16mm
      • VENUSVILLE, 12 min., 16mm