CIRCUS SAVAGE Chapter II
LAWRENCE JORDAN
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59m
At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many of his films as well as material from uncompleted projects.
The second chapter of CIRCUS SAVAGE, consisting of reels four through six, is a broad mixture of outtakes from the Bay Area of the 1960s and what otherwise might be considered "home movies" along with selections from the unavailable MAGENTA GERYON (a "film concert"), vignettes from a costume drama set in Chinatown, a card initially reversed and later presented "properly" announcing TÊTE-À-TÊTE (a portrait of Victor Moscoso), references to poet Denise Levertov, an inverted-and-reversed insert reading 3RD CIRCLE (a reference to the gluttonous wallow of hell guarded by Cerberus in Dante Alighieri's INFERNO), further excerpts from the FINDS OF THE FORTNIGHT (1960 / 1980) project with the artist Jess Collins, concluding abruptly with THE LUTE RECITAL and PORTRAIT OF PATRICIA [JORDAN], WITH LUTE (from the "lost" THREE PORTRAITS).
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CIRCUS SAVAGE Chapter III
At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...
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CIRCUS SAVAGE Chapter IV
At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...
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CIRCUS SAVAGE Chapter V
At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many...
