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The Best JoAnn Elam Directed Movies

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poster

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10

/1/

Experimental filmmaker JoAnn Elam guides (or limits) the viewer's eyes down a rural, wooded path.

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35

/2/

Two pumpkins.

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10

/1/

Digging in the woods.

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10

/1/

Set to the Beatles 1965 song "You Like Me Too Much," Daytime Television consists of a series of close-up handheld pans of cleaning supply labels and packaging. Elam refuses to pull back and the abstracted visual effect is both dizzying, hypnotic, and full of rapidly flashing colors. The film looks at the feminist discourse of the "politics of housework," and of the anti-consumer discourse of the counterculture and left of the day.

poster

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10

/1/

Lie Back & Enjoy It is a dialectical film about the politics of representation. Its image track consists of technologically manipulated images of women, and some printed titles. Its soundtrack consists of a dialogue between a Man (a filmmaker) and a Woman (of whom he's going to make a film).

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10

/1/

Images of a shadow puppet play, intermittent rapid editing, and sweeping shots of a farm, dogs playing outside, plants, kitchens and interiors, provide a naturalistic portrait of peaceful spaces and friends. Date of production unknown.

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80

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"Pup Birth" captures the excitement, chaos, and tenderness between a dog and her newly-born litter of puppies. In intimate close-up, the puppies crawl around and nuzzle with their mother, mirroring JoAnn Elam's own affection for dogs and animals in general. The date of production remains unknown.

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60

/1/

Abstract, direct animation consisting of triangular shapes that flow past the frame. Apparently the source for "Filmabuse" (F.2011-01-0262) and "Filmabuse Loop" (F.2011-01-0263), this original painted material is presented in an edge-to-edge scan to replicate the look of the unslit double 8mm object. Although no date information is available, it was likely produced circa 1975 ahead of the other "Filmabuse" elements.

poster

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10

/1/

Shot from the inside of a house and through a window's curtains, one can sometimes distinguish the colorful flowers in the yard outside. But, as in much of her other film work, JoAnn Elam is apparently more interested in filming textures, light, and colors. Panning over the curtains at various speed, the camera captures their rhythm and the effect of the light on their fabric at close range, until it becomes difficult to identify the object turned pure light and movement.

poster

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10

/1/

Joann Elam captures urban residents on the go in various seasons. The film begins in winter, as JoAnn captures sleepy neighborhood scenes from her snowy Logan Square windowsill. This is followed by manipulated summer scenes of a fast paced marathon. Through light flares and in-camera editing, marathon runners deconstruct into colorful forms.

poster

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10

/1/

This film celebrates the frenzy of light and color found amid exploding fireworks and the speeding headlights of cars on a nighttime road. In the first half of the film, it appears that JoAnn Elam experiments with projecting film of fireworks and filming it again off the screen, superimposing the explosions. At different parts, the projection zooms in and out, adding pulsating boxes to the other forms and colors illuminating the dark. In the second half, headlights join the fray, and the film builds to chaos before slowing down to capture the streaking lights at the very end.

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10

/1/

Chicago streets.

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10

/1/

Abstract direct animation film made by JoAnn Elam.

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10

/1/

Filmed during the 52nd National Convention of the American National Association of Letter Carriers in August 1980.

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10

/1/

Optical printing experiments of a 16mm pornographic film.

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30

/1/

"Popcorn" begins with a teenaged boy reading from an unknown text inside a living room. JoAnn Elam is seen knitting, presumably nearby, before entering the kitchen and proceeding to cook popcorn on the stovetop. Each step is filmed in extreme close-up, with an emphasis on hands and tactility. This attention to process is similar to other films from Elam, notably " Chocolate Cake " (F.2011-01-0166). At the end of "Popcorn," following a flurry of light leak and mis-aligned optical printing, the boy happily eats the popped and seasoned kernels. The exact date of production remains unknown.

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10

/1/

Images of Christmas lights at night, a group of baton-twirlers in the street, postal carriers, kids walking down the street, etc. Exact date of production unknown.

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10

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It's nice outside, take a stroll in the woods but be careful.

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15

/2/

The film was made in response to an evening during which a number of male members of Chicago's experimental film scene gathered at JoAnn's house and proceeded to ignore both her and the chocolate cake she made for the occasion. The film consists of a series of shots documenting the making of a chocolate cake, followed by a shot of JoAnn's sandaled foot stepping in the middle of the cake. When JoAnn screened the film in homes or loft spaces in Chicago, she would always serve chocolate cake as an accompaniment. Date of production unknown (likely 1973).

poster

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10

/1/

JoAnn Elam's unfinished project, EVERYDAY PEOPLE (filmed from 1979 to 1990), is based on her experiences as a letter carrier for the US Postal Service in Chicago (primarily the Logan Square neighborhood). Camera in hand, Elam follows co-workers as they deliver the mail throughout various Chicago neighborhoods. Elam's construction of this film-in-progress creates a lovely cadence and rhythm that transforms the repetitive motions of the postal worker -- pushing the mail cart, carrying the bag, avoiding the dogs, opening the gates, and climbing the steps to the front door -- to something poetic yet startlingly familiar. Their stories (heard mostly in voice-over) are those of everyday people who at the time struggled with issues of race and gender in relationship to their work.

poster

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30

/3/

Experimental film by Chicago filmmaker JoAnn Elam (1949-2009). Altered lyrics to the song "Chains" sit atop animated images of grains. Exact date of production unknown. "Chains" was composed by the Brill Building husband-and-wife songwriting team Gerry Goffin and Carole King and was a major hit for Little Eva's backing singers, The Cookies (#17 U.S. Pop, #7 R&B), and later covered & popularized by The Beatles.

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Gardening was an essential part of Elam’s life; she not only tended to her own, quite impressive, backyard garden, she also attained the status of Master Gardener and then helped Chicago communities develop gardens and landscape neighborhoods. Elam’s garden features prominently in many of her films, and here is captured with devotion and blended beautifully, through use of double exposure, with other elements of her home.

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“Tai Chi II,” similarly to Elam’s “Tai Chi Bowling” and “Tai Chi,” focuses on movement. Through a sequence of close-ups, Elam coyly records portions of several individuals practicing tai chi, primarily focusing on the practitioners’ extremities as they float about. Distinct from its affiliates, “Tai Chi II” finds the action taking place outside.

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Rape has three victims discussing their emotional, physical and intellectual responses, then and now, highlighted and commented upon by a series of visual interpolations.

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Farm work and nature.

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A series of home move style shots of a mother and her young child crawling outdoors. Scenes include a mother and toddler playing in a Chicago backyard, a young family boating in a small lake, toddlers playing & bathing outdoors, a young girl and her stuffed animal and a children's birthday party with a pi?ata. Exact date of production is unknown.

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In this footage by JoAnn Elam, almost nothing is discernible, with the exception of buildings sometimes emerging in the dark and stripes of orange light invading the black screen near the end. Like other elements from this collection, Light Leak exemplifies the type of cinematic experimentations that Elam was interested in her work.

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“JoAnn & Susan x2” begins with a female protagonist, JoAnn Elam, playfully modeling a red, knit blanket, superimposed by a rider, JoAnn's sister Susan Elam, and her steed moseying around a indoor corral in Grayslake, IL. As the juxtaposition continues, Susan meanders in the background and JoAnn time travels backward, through a series of segments utilizing the blanket's progression as a visual marker: she goes from modeling the finished blanket, to sowing the blankets seam, to knitting the blanket in progressively smaller increments.

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A poetic tribute to the establishment of the maple farm in Monterey, MA, owned and operated by JoAnn Elam's friend Bonner McAllester and her husband Joe Baker. Elam and McAllester were close friends since their time at Antioch College together, and Elam would return to the farm and make films many times through the 1980s. Using double exposure and occasional rapid editing, this film follows McAllester, Baker, and a group of friends as they live in the teepee first built on the property, dig the foundation for a more permanent structure, harvest and prepare their crops, and build a new wooden structure on top of the dug-out foundation. Elam films the workers with a focus on their bodies and hands, emphasizing the tactility of their labor, but at other times also foregrounds the ethereal quality of their natural surroundings.

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A myriad of purple and blue markings flicker hypnotically across the screen in “Filmabuse.” Periodically a blue screen flashes, disturbing the trance induced by the colorful smudges. The rhythm of the colors gathers steam and accelerates as the film continues. Near the conclusion, for the entirety of one second, a woman appears; she is “put together” without a stray hair; however, her face appears scarred and swollen, juxtaposing the slight grin her lips muster.

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"Closet Film" flickers hues of white and yellow intermittently. Stretching to its halfway point, the frame cuts to black as a myriad of blues barrage across the frame, before returning to the film’s original abstract yellow and white sequencing. Near the end, a lone human actor opaquely appears. The film concludes on a shot of what is seemingly a marred closet wall.

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USPS workers go bowling.

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Elam films her close friend, Chuck Kleinhans.

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Footage documenting Chicago's famed "Blizzard of '79," including some early examples of parking "dibs," people digging out their cars, and postal carriers delivering mail. Shot in Chicago's Logan Square neighborhood.

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Filmed in extreme close-up, the lit-up pine needles of a Christmas tree are abstracted into forms of line and contrast. “Christmas Tree” then moves around the living room to focus on JoAnn Elam stringing popcorn, a playful dog, a tapestry on the wall, and a curly-haired man playing guitar.

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