The Biggs Museum of American Art will host a viewing of short films created by Delaware and Pennsylvania filmmakers.
Nic Reader will show his film "Runner," which has received national acclaim. A modern-day western set in a small town just north of the U.S./Mexico border. A mysterious cowboy stirs things up as he rides into town in his '77 Road Runner. The sheriff is quick to take notice and is determined to find out why the cowboy is there. This thriller will keep you guessing until the exciting and unexpected ending.
Nancy Breslin will show "Untitled (England, June 2011)" which was screened during the New Wilmington Art Association juried exhibition earlier this year. The film chronicles her two week trip to England. She was constantly on the move and kept filming movement of trains, the tube, taxis, sushi and cyclists. You'll hear her heartbeat getting more rapid throughout the soundtrack.
Amy Hicks will be screening "ReAdaptation: the book series," which is about the process of translating books to film. The shorts in this series are adaptations from the science fiction novels, "Jaws," "Frankenstein," "The Stepford Wives," "I, Robot" and "Do Androids Dream of Electric Sheep?" Hicks explores the process of adapting one form to another and uses the ideas of elision and incoherence to challenge the narrative of popular stories.
Shawn DiCriscio will be showing "Static." This short film is a typical example of his work as he seeks to discover the truth in the scale of things. His quest has forced him to examine the hierarchy of distance in this existence, a constant reminder of things greater. He is searching for the place where micro and macro become interchangeable, a place where the space between worlds becomes light seconds, minutes or years.
Jeffrey Moser will be screening "Fordland Series" in which he examines the mechanization of imagery by appropriating 16mm Ford Motor Company promotional films. Shown at employee retreats across the country, the films promoted power and speed in the 1960's, thrill seeking and gambling in the 1970's, and nostalgia and contrition in the 1980's. Moser has manipulated these films by opening the film gate to expose more than one frame at a time. It is as if the viewer has taken repeated steps backwards from the film, not only physically, but temporally as well, transporting the viewer several seconds into both the past and the future.