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Frédérique Devaux, catalogue of films

> voir la filmo en français

> see english catalogue of films whit pictures

Imagogie - 1981

 

Altergrafies - 1981

 

Fil(m)age (co-real) - 1984

 

Cinégraphiques - 1987

 

Post-scriptum — 1992

 

Chromatographie — 1995, 16 mm, muet, 3 mn 20, coul.

 

Logomagie - 1997, couleurs, 4 mn 10, son

Scratch and coloured film. Inclusion of 8 mm in 16 mm.

 

Signes Song - 1998, 16 mm, son 10 mn, coul.

 

Bri(n)s d’images - 1998-1999, 16 mm, coul, 5 mn simple ou double écran, son.

 

Fils d’images - 1999, 16 mm, coul, 1 mn 19, muet

I often create diversions, little breaks along my path. Fils d’images (Image Threads) is one of these. It really is made of threads of pictures, thick and thin threads passing across a random human face. But these threads can also exist just in and of themselves (if I could only achieve a sort of Mondrianism in film). It’s also a film about rhythm, repetition and the fragment suggesting a whole.

As in all my films since 1980, the main issue is erasure by overload, or sometimes, as here, by a sudden or gradual total or partial emptying.

National selection, Clermont-Ferrand Short Film Festival, February 2000.

 

Entrecroisées - 1999, 16 mm, coul, 4 mn 30

Fragments in diverse shapes, mostly circles and dots filled with various imagery. Occasional vertical blumrs give the film an original, more abstract, rhythm. Edited directly in the optical printer, the found footage images were chosen according to my convictions: there is thus a certain derision in weaving and intercutting the faces of these anonymous, serious men with the obviously naive, complacent juveniles taking communion. I tried to make each frame a painting; I hope it not incongrous to stop on each one a few quarters of a second.

Translation and arrangements : Pip Chodorov

 

Ellipses - 1999, 16mm, coul, 5’22 mn

From film to film I often use the same images, to refer to back to the universe I have created, to show that my work constitutes one oeuvre. I also often push earlier-used techniques farther. In Un Film Brûlé (A Burned Film, 1984) I had ripped a film down the middle and shifted the two sides, creating a big gap and rendering the film unprintable; all that was left of the film was a soundtrack. Here I have made holes and ellipses in every way possible, then sewed the film back together following an aesthetic mode, in a celebratory end-of-century apocalypse of positive, negative, super-8, regular-8, black and white, color, saturated and faded found footage.

Pictures sewed onto other pictures so as not fall through the gaps between them, this is only a pretext to rejoice that cinema is not dead, that many things are still possible. One only has to join together these images that could have easily otherwise disappeared. Gluing color to color, frames or even fragments of frames become cuts of their own, in every sense of the term.

Translation and arrangements : Pip Chodorov

 

Clins de vue — 2000, 16 mm, 4mn 15

All kind of 35 mm films (documentaries, fiction…) in 16mm.

 

(W)hole T®ous - 2000, 3mn 45

A very lucky coincidence first : (W)hole (in english) and T(r)ous (in french) are exactly the same double meaning.

I made this film with 35 mm subtiles I put in 16 mm features.

The sound is composed with La pioggia (The rain) from Russolo.

" The discussion on the pro’s and contra’s of adding subtitles or dubbing films won’t end just yet. The argument that is being made in this film will rpobably not change anything for this discussion, although this film would never have existed without subtitles. (W)hole T(r)ous starts the more important and interesting debate on story and imagination " Impakt 2001 (Utrecht)

The text fragments are subtitles from several 35 mm commercial films. I worked with an optical printer and special lenses to transforme the letters and signs. The soundtrack is " la pioggia ", a composition by the futurist Luigi Russollo. Il remixed it to make it unrecognizable "

 

Fil(m) - 2001, 2 mn 15, muet

I wanted to make a kind of split-screen. So I put many images in the same pictures, working with 16 mm, super 8 mm, 8 mm, 9,5 mm, 35 mm…

 

K1 - 2001-2002

K2 - 2002

Frédérique Devaux, avril 2003




> voir la filmo en français

> see english catalogue of films whit pictures


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