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The blog of author Dennis Cooper

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Mrs. Santa Claus presents … Stocking stuffers: 20 3-dimensional board games

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Waldschattenspiel
‘Today we look at something very special. It’s a German family game called “Waldschattenspiel”, sold here as “Shadows In The Woods”. It’s a game designed for children and an adult, but I think any group would happily play this wonderful little thing. There is nothing else like it, and certainly nothing else that looks like it. Let me explain how the game plays. A board. Wooden trees of different sizes. Little wooden pawns. A candle. The child player takes one of the little wooden pawns (the dwarves) and hides it in the forest, in a patch of shadow. Once all the children have hidden their dwarves. The adult player, a giant with a bright lantern represented by a tea-light, rolls a die and moves that many paces through the trees. As the light source moves, the shadows dance and stretch. Any dwarf caught in the light is frozen, unable to move, until another dwarf can come to touch it and break the spell. The dwarves win the game by coming together in the same patch of shadow, under the same tree. The light-bringer wins if it freezes all the dwarves.’

 

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Haunted Ruins
‘I think it would be hard for any gamer with kids, especially one who appreciates the Ameritrash side of gaming, to look at a game like Haunted Ruins and not think, where was this game when I was growing up?? I mean, just look at the thing… It’s a 3D pop-up board of a haunted graveyard, with moving obstacles and passageways, and you’re being chased around by a ghost and a zombie. I saw this at a Toys R Us when it first came out a couple years ago, along with its Egyptian pyramid/mummy themed counterpart, Treasure of the Lost Pyramid, and it took all of my willpower to not just buy them both right then and there. But they were both about $25 and I couldn’t really justify the purchase at the time. Well, fast forward to last week when I was bored and stopped into a Barnes & Noble in California… I had totally spaced the whole “Barnes & Noble game dumping sale” that happens every year around this time and so it was a pleasant surprise to see several copies of Haunted Ruins sitting there for 75% off. It was also kind of sad to see that, because really, this is a great game and a great production that deserves to be in the homes of many kids who will surely love it.’

 

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The Settlers of Catan 3D Edition
‘The Catan 3D Edition is a special treat indeed. In the big wooden chest you will find 19 3D terrain hexes, an illustrated, sturdy wooden frame andover 170 game pieces that have been painstakingly modeled in exquisite detail. All pieces have been hand painted. All the pieces are included for you to play The Settlers of Catan in 3D. Note: the 3D version of The Settlers of Catan was a limited production of 5,000 copies. It may be difficult to find an authentic set online, however, many merchants have come up with an ingenious way to bring the Catan 3D experience to everyone. Blank terrain pieces are often available, which can then be painted. Use your imagination and get yours today!’

 

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Aapep 3D
‘In Aapep you play either the demon Aapep, trying to swallow the sun, or the god Ra, fighting to escape the dark seas of the underworld. Players take turns placing pyramid tiles onto the board—Aapep swallows the sun if from any edge of the board he can “see” dark sides on the first pyramid tile that is visible from that direction while Ra escapes if from any edge of the board he can “see” light sides on the first pyramid tile visible from that direction.’

 

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Just William Game
‘The first part of the game consists of constructing William’s house and garden fence as per the diagram on the rules. Players are then given jobs to do around the built house & surrounds. There are two packs of cards – job cards and excuse cards. The object of the game is to get rid of all of your jobs, climb over the garden fence and land on the “William” spot. Designer (Uncredited). Artist: Thomas Henry Fisher. Publisher: Palitoy Ltd. Year Published: 1976. # of Players: 2 − 6.’

 

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Clue Premiere Edition
‘After a steady decline after the video game boom, board games are regaining popularity, but only because the companies behind them are innovating. One such way is by upgrading from 2-Dimensional boards to 3D, pop-up ones. The Clue Premier Edition, retailing at $150, has a game board that is literally like a doll house. The board has nine sunken 3D rooms, each with detailed furnishing. The only thing that differentiates it from a doll house is that it has a non-removable, tempered glass lid placed on top, preventing tampering inside.’

 

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3D Labyrinth
‘Part of the Ravensburger Labyrinth Games series, This is a super-simplified version of The aMAZEing Labyrinth for the really younger set. Instead of the shifting tiles of the other versions, in this game, entire sections of the maze shift, as the modular 3-D board has a sliding center piece, which allows for different pathways through the maze. Players attempt to reach the items shown on their treasure cards by shifting the maze and moving through the corridors.’

 

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Fireball Island
‘Here it is folks, the newly finished Fireball Island! What a trip it’s been. What’s been keeping me going is a guy out in CA who is going to be the proud owner of this piece. He’s very worried about the shipment being damaged but I’m very confident in the strength of the object as well as my packing skills. Alain, the new owner, has really kept me interested in the project with his enthusiasm and excitement. We are both really into this whole thing and hope more comes from it. We talked the other night about Torpedo Run!, a very awesome game that puts Battleship to shame. I might be looking into recreating that game in the future, we’ll have to see. But at the very least I am confident that I can make more Fireball Islands, and am taking offers to anyone who is interested in one. So check out the pics and stay on the look out for more boards to come.’

 

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Harry Potter: Adventures Through Hogwarts Electronic 3-D
‘Adventures Through Hogwarts is a complex game that will test the problem-solving skills of the players as they navigate the Hogwarts castle in a quest to locate the ever elusive Sorcerer’s Stone. Like no other Harry Potter board games that have been released, this is played on a 3D Hogwarts replica. The set is completely designed with its well-detailed rooms to give the kids a fun re-enactment of the entire Sorcerer’s Stone adventure. The game itself is a relatively simple move through the fictional school, but it’s livened up by the electronic gizmos, sounds and lights, which make it fun to play.’

 

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Cranium Balloon Lagoon
‘Spin the musical merry-go-round and start the timer, then race around the board trying to complete 4 fun-filled carnival games before the music ends. The 4 games utilize the same skills needed in the traditional Cranium categories: Word Worm, Star Performer, Data Head, and Creative Cat. Only this time, you’re playing carnival games! In Letter Lake, you’ll fish for letters to spell a word. In Frog Pong, you must hop the frogs from the lily pads back into their pond. In Snack Hut, try to collect 4 matching snacks, and in Tumble Tides, spin the picture wheels and try to match all 4 sections of the picture. It’s based on the original Cranium game, but given a fun carnival twist that kids will love! Collect balloons as you play the 4 carnival games, and the first player to collect 15 balloons, wins.’

 

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Necromunda: Underhive
‘Necromunda is a skirmish tabletop war game produced by Games Workshop. In Necromunda, players control rival gangs battling each other in the Underhive, a place of anarchy and violence in the depths below the Hive City. As in its parent game Warhammer 40,000, play uses 28 mm miniatures (approximately 1:56) and terrain (in this case, the Underhive – a heavily polluted, underground industrial environment). Being a skirmish game, gangs are usually limited to around nine models, but as a result game play can become more detailed. Unlike Warhammer 40,000, Necromunda also allows players to develop their gangs between battles, gaining experience, gaining and losing new members or equipment, according to a set of rules. Gangs which frequently win games acquire more credits (money) and fewer injuries and so are able to grow throughout a campaign. Necromunda also stands out from most other games by Games Workshop by having a more 3-dimensional table layout, with buildings generally having multiple floors, interconnecting walkways and bridges. The terrain is constructed to simulate a hive city on the planet Necromunda, a dystopian futuristic city resembling a termite mound many miles high.’

 

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Shogun 9
‘I’ve recently completed designing and building my first game board. Here are some pics.’

 

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Smurfs, The Game
‘The 3-D Smurf Game. Pick a Smurf character and play the 3D Smurf game! The 3-dimensional game takes place in the Smurf village. Each player has to follow the tricky Smurf path by climbing over bridges and traveling behind Smurf houses! Watch out for the spinning baddie cat, Azrael! Your goal is to be the first Smurf player to reach home with 4 different food baskets of apples, acorns, grapes and strawberries. “The Smurf Game”. From 1981. Made by Milton Bradley.’

 

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Halo Interactive Strategy Game
‘Featuring the same premise and characters as the video game – including Master Chief, A.I. and Covenant – the ‘Halo Interactive Strategy Game’ offers a modular board that can be re-configured to create a virtually limitless game play experience. In recreating the video game’s signature three dimension graphic design, the game pulls fan-favorite elements from Halo 1, 2, and 3 along with music from the video game’s award-winning soundtrack and features unseen exclusive DVD content to enhance game play. In the game, players will command armies of three-dimensional collectible character pieces for two different levels of play: Heroic for faster, more casual game play and Legendary for more strategic advanced gamers. Fans can follow story lines that expand the Halo experience in Campaign mode or go head-to-head in interactive battle sequences with Slayer or Capture the Flag modes. The battle options are endless with future add-ons of new adventures, vehicles, characters and weapons to expand the experience.’

 

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The Scooby-Doo Haunted House Game
‘The Scooby-Doo Haunted House 3D Board Game is action-packed! Move around the haunted house and try to make your way to the top. There are secret booby traps waiting to get you – a moving ghost knight, a creaky staircase, a haunted moose head, and more. There are seven traps in all, but if you make it past and you are the first to the top – uncover the villain and you win!’

 

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The Lost World Jurassic Park Game
‘Based on the second movie, of course. This tri-lingual (English, Spanish, French) crowded MB box contains a whole bunch of thin cardboard 3D buildings; stand up cardboard pieces for the 12 humans and the helicopter, and a bunch of plastic miniatures of the dinosaurs (a T-Rex and some Velociraptors). This is played in teams, the human team trying to get 3 humans off the board via the chopper, and the dinosaur team trying to prevent this. When 3 play, the third player alternates teams. The humans can jump between building roofs or can run between them. Unfortunately, the dinosaurs move a lot faster on the ground than the humans (the humans move between marked spaces, the dinosaurs between zones). Buildings have several entry/exit points for the humans but only one for the raptors. Dice indicate how to move humans and dinosaurs; one of the dice has Stop/Go markings which control whether you may roll again or not — making movement harder to predict. Jumping (for humans) and entering buildings (for dinosaurs) is also dice controlled. The T-Rex is confined to a single board edge area; its function is to flush the humans from the starting building — once he reaches it, all remaining humans are devoured! Yes, unlike the first movie game, in this one there is death aplenty.’

 

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Heroscape
‘Heroscape is turn-based miniature wargaming system played using miniature figures on a board made from interlocking hexagonal tiles that allow for construction of a large variety of 3D playing boards. It is a game of hit points, numerous dice, and attacking. It plays like a fantastic version of chess. Only instead of rooks and pawns, you have all manner of orcs, dragons, robots, assassins, etc. The board and character selection is vast if the host has enough expansion packs, and this was certainly the case over the weekend. The three playing boards sprawled out in full 3d upon a long banquet table and were surrounded by plastic containers full of various character pieces. The five other people playing for the most part knew the characters’ stats without looking at the cards. It was a little intimidating, so I picked a pre-configured, defensive style army. After six hours of 45 minute long games, I had won two and lost the rest.’

 

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Scream Inn
‘Bet you never knew there was a Scream Inn board game?! Well, neither did I? Released in the 1970s by Fisher Price, it’s currently on eBay for about £70 or thereabouts. Below I’ve snagged a few photos to give you an idea of the look and feel of the game. A standard board game with some cut-outs to give a 3d effect and a internal turntable for I presume turning various bits and bobs around? Comes with markers both of the ghost and human variety plus a die and rule book. Strange that no obvious characters from the strip appear aside from a generic ghost. Maybe the comic gave rights only to use the name of the strip. Still, a slice of forgotten comics history which probably went unnoticed by fans back in the day.’

 

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Mordheim: City of the Damned
‘Mordheim does to Warhammer Fantasy what Necromunda does to Warhammer 40k. The game mechanics work in classic Games Workshop fashion. Instead of playing with hundreds of miniatures, you pick a warband of 1-20 models(Most average at 10-12 or so), and fight a skirmish with other warbands. If you play well, your warband gains money, levels, size, and new powers, but play badly and your warband slowly deteriorates as people die or otherwise get dismembered. Games actually play very similar to Necromunda but due to the fantasy setting you should see fewer long distance shots, and a lot more hand to hand fighting.’

 

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Mountaineers
‘Mountaineers is a strategic board game in which 1-6 players compete against each other and AI climbers to earn climbing points (victory points) as they maneuver around a 18 in./45 cm tall rotating 3D modular game board. The theme of Mountaineers is lighthearted and fun, primarily focused on competitive route finding, resource management, character building and upgrades, while challenging players to react to various exciting (and sometimes comical) events that occur on the mountain. Strategy during both set-up and game play is important. At the beginning of a game, players need to choose four climbing routes, one character, and a starting position that work well together, in order to earn the maximum amount of points possible. However, as the game progresses, the mountain terrains fill up, making it more difficult to complete certain climbing routes. Additionally, various mountain conditions change (once per player), and event cards (drawn on each turn) require players to adapt their strategy, change their climbing routes, and purchase various combinations of gear upgrades to continue climbing.’

 

 

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p.s. Hey. Some of you might remember that Mrs. Santa Claus popped into the blog around this time last year to give us a post-shaped holiday treat. And she’s back, this time with some last minute Xmas gift suggestions. And since 3D board games just happen to be one of ‘God’s’ greatest hits, there’s that aspect too. Joyfulness galore, in other words. Please shop or enjoy accordingly, and spare a thoughtful thought for her in the commenting arena if you wish, and all my thanks to Mrs. Santa Claus for letting DC’s be her generosity’s venue. ** Ferdinand, Hey, Ferdinand. Good to see you, man. How’s stuff? Merry Xmas! I’m not on Spotify but maybe I can bootleg a listen. Everyone, Ferdinand says, ‘Happy holiday season and here is a song for the xmass playlist for those on the spotify : Christmass is cancelled – the long blondes.’ ** Misanthrope, I have not counted them, no. But, let’s see, I’ve been doing the blog since 2004 and posting 6 days a week — and 7 days a week for the first several years — with the occasional rerun, so … I’m bad at math. A lot of posts. Enough of them that even with my fairly dedicated attempt to restore the murdered ones, I’ll never be able to resuscitate the entire oeuvre. The relief package’s total internal corruption and short sightedness is a given. Sad. Next. Keep your current doctor close then, for sure. My favorite thing about French doctors is that, on the rare occasions when I’ve had to use one, when it gets to pay up time and I tell them I don’t have insurance, that so flummoxes them that they usually don’t even charge me. ** David Ehrenstein, Yes, indeed. Everyone, If you missed the link to David Ehrenstein’s fine LARB piece about Warren Sonbert in the Further section yesterday, you can take a short cut to it by clicking this. And, just as importantly, Mr. E has a brand spanking new piece up on LARB about Martin Scorcese and Jean-Pierre Melville that has just launched and is available for your reading delectation right here.’ Look forward to it! ** Bill, my pleasure, of course. Ooh … Actually, that ‘Atarayo’ cake could compete with and maybe even trump anything Paris has on offer this year. Want. thanks, B! ** _Black_Acrylic, Happy you dug it, man. Ha ha, crazy about the mysterious calendar. Yes, someone has your number, that’s for sure. ** Brendan, Hi, Brendy. Well, in your defence, they’re not exactly easy to see. Even in the post, seeing them involves a bit of maze-like negotiating. Conner/Kubelka/Frampton: the gods. Frampton especially for me. That’s good to hear about ‘The Pale King’. It’s the only DFW I haven’t read, and it would be nice to have a complete set in my memory banks. I’ll take a deep breath and score it. Hope you’re making it through the hellifying situation there in beloved LA, and Happy Xmas whatever the hell that even means this year. ** Steve Erickson, Ah, shit, about your computer. Smoothest, least meddlesome sailing possible, I hope. Everyone, Steve Erickson’s 10 best films of 2020 are yours to read and be enlightened by or agree or disagree with here. I’ve only seen one of yours, and I’ll rectify that as best I can. Thanks! ** Brian O’Connell, Hi, Brian. Very happy you dug the work, man. Ditto on your Haneke thought. Ha ha, the Pope’s discourse is precisely what I was remembering, or rather not remembering, when I recalled my skimming. Sade does have a magical ability to be totally boring and totally enthralling at the same. Not an easy accomplishment. The hollowness of ‘IaGC’ makes total sense to me in my memory of it. All I really remember is the erotic/disturbing bits. Hm, well, a lot of people I know enter DFW through his wonderful non-fiction, in which case ‘A Supposedly Fun Thing I’ll Never Do Again’ is a must. Fiction-wise, why not just take the deep plunge and read ‘Infinite Jest’, although it is lengthy. ‘Girl With Curious Hair’ is an earlier and more quickly digestible entrance. But, yeah, he’s always great as far as I’m concerned. I miss giving and receiving gifts, sitting around the Xmas tree on Xmas morning with one’s family opening the things we gave to each other. Yeah, that was some sweet stuff. Oh, well. On my end, I need to buy whatever I’m going to buy today because there are already long, long lines to get into almost any store and by tomorrow there’ll be shopping riots and shit. So, I’ll do that. Enjoy today’s part of the countdown, sir. ** Okay. You know what you have or had in store today. Be its buddy, won’t you? See you tomorrow.

Warren Sonbert Day

 

‘Warren Sonbert’s last 16mm film, Short Fuse (1992), was finished just three years before his death, of AIDS, at forty-seven. Like his other titles—such as The Bad and the Beautiful, Rude Awakening, Noblesse Oblige—this one evokes Hollywood action, gangster, and noir pictures. But the exact image it conjures—a bomb’s wick shedding sparks—is an apt icon for Sonbert’s explosive style.

‘Sonbert’s films consist of relentless montage. Scenes burst forth and quickly give way to the next. They inhabit the fringe of narrative, almost telling a story but never conveying character, conflict, or plot. Sonbert drew inspiration from his favorite Hollywood directors (Alfred Hitchcock and Douglas Sirk) and translated their languages of suspense and melodrama into the grammar of avant-garde American cinema. Four of his films were presented on January 13 at the Pacific Film Archive, Berkeley, in a program called “Hall of Mirrors.”

‘The afternoon began with Sonbert’s first film, also called Hall of Mirrors (1966). Made while Sonbert was still a teenager in New York City, the work is the result of his early preoccupation with editing. It begins with a meditative montage, using still photography from the set of Michael Gordon’s An Act of Murder (1948), in which the characters are trapped in a funhouse hall of mirrors. Sonbert’s ordering of the stills skips and repeats, expressing the carnival’s manufactured vertigo and the stuck state of the protagonists. The film suddenly segues to a sequence shot in Rene Ricard’s apartment, where the artist smokes cigarettes and makes maudlin gestures amid eclectic décor. The dreamy melody of The Left Banke’s “Walk Away Renee” (a witty echo of Ricard’s first name) offers an aural counterpoint to the angst conveyed by the artist’s facial expressions. The film’s final movement shows Warhol star Gerard Malanga contemplating his handsome visage in a series of reflective surfaces.

Hall of Mirrors feels like a complete, mature work. But it was only the beginning of Sonbert’s lifelong study of montage. In program notes for his best-known film, Carriage Trade (1971), Sonbert describes his distinct theory of montage as one “not strictly involved with plot or morality, but rather the language of film as regards time, composition, cutting, light, distance, tension of backgrounds to foregrounds, what you see and what you don’t, a jig-saw puzzle of postcards to produce various displace effects.” Whereas in Hollywood movies montage is used to condense time and move the plot forward, Sonbert makes the montage the whole story. His films are typically constructed of hundreds of discrete shots.

‘Between the films, the organizers played short audio excerpts of a talk Sonbert gave at the PFA in 1986, in which he uses the word “propulsion” to characterize his work. Indeed, these films move at outrageous speed. Yet Sonbert’s precise approach to each shot’s singularity, and the meanings that emerge in transitions, effectively slows everything down by insisting that viewers vigilantly attend to every frame. This contradictory feeling of time moving quickly and slowly at once seemed especially pronounced in the silent films on the program: Divided Loyalties (1978) and The Cup and the Lip (1986)

‘In another excerpt from his 1986 talk, Sonbert describes his process of sequencing shots by referring to Sergei Eisenstein’s technique of making meaning by juxtaposition. But while Eisenstein often combined images to build narrative tension or make a point about a figure’s ideological allegiances, Sonbert’s approach to montage is rarely so straightforward. Divided Loyalties and The Cup and the Lip accumulate imagery along certain thematic lines, signifying by aggregation. His “meanings” in each film are revealed slowly. Sonbert was infamous among his friends for carrying his camera everywhere. Much of the footage in Divided Loyalties was shot at amusement parks, circuses, parades; The Cup and the Lip also shows crowds, but from a more sinister perspective, with riots instead of thrilled circusgoers. Cats, playful in much of Sonbert’s work, are seen in attack mode in The Cup and the Lip. The film ends with a brief but awesome shot of the Hoover Dam, followed by a cat attacking a rubber eraser on a windowsill. The works, however intuitively coherent, are finally open to interpretation. Both films produce an atmosphere of frenetic public activity, reflected by the pace of Sonbert’s galvanic editing. They gesture toward the drama of mass spectacle, the terror and violent potential of the mob. His montage can also be funny, liberated from the pressure to appear ideologically or narratively pure. A shot of shirtless men drinking beer at a gay pride parade in The Cup and the Lip cuts abruptly into a shot of ducks playfully milling about on a placid pond. But there is no narrative resolution, just breathless movement at story’s frayed edges.

‘Sonbert’s resistance to plot structure dovetails with his interest in experimental writing, particularly that of the Bay Area Language poets, who concerned themselves with radical formalism, paratactic structures, and diffuse narratives. Lyn Hejinian, whose theoretical writings are key for the Language school, made a distinction between “closed” and “open” texts in her landmark essay “The Rejection of Closure,” and it seems particularly applicable to Sonbert’s output. The open method, Hejinian writes, is one in which “all the elements of the work are maximally excited,” resulting in a text that can never be limited to any one meaning. Bay Area poet Alan Bernheimer, also affiliated with the Language poets, introduced Sonbert’s films at PFA. Just as these Bay Area writers derived their language from a variety of sources—from overheard quotidian speech to formal Marxist theory and anything in between—Bernheimer emphasized Sonbert’s impressive range of formal sources.

‘As Short Fuse progresses, Sonbert’s imagery turns grim: burning trucks, armed soldiers racing out of buildings, hard-to-watch scenes of invasive medical procedures viewed from the bedside. There are a few shots of visitors at a Vietnam Veterans Memorial, followed by a gathering police force. We recognize them as San Francisco police, and the landscape as downtown San Francisco. The cops organize in a huge army, set up barricades, beat protestors. Finally, in a moment that feels more traditionally climactic than any other in these films, the protestors slough off their jackets to reveal ACT UP T-shirts and signs.

‘But such a scene, as devastating and unforgettable as it is, couldn’t be the culmination of Short Fuse or any other Sonbert film. Short Fuse shows the adjacency of the medical industry and state violence in a way that would have been clearly legible to AIDS activists in the 1990s—too pat for Sonbert, who railed against what he saw as the “simplicity” in Eisenstein’s montage. Instead, to the strains of Laura Branigan’s 1982 hit “Gloria,” we see a happy couple drinking champagne, among other delirious celebrations, as this painful film draws to its glorious, mortifying, ironic conclusion.

‘Waiting for the train home after the film, I ran into friends who had also attended the program. Each of us, I learned, had been brought to tears by the last minutes of Short Fuse. And yet it was difficult to really say what exactly prompted them. Sonbert’s cinema is witty, exhausting, sentimental, and full of rage. But it is never facile, and it never concedes to being any of these things all the time. To me, that seems to be its fundamental power.’ — Brandon Brown

 

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Stills

































 

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Further

‘The Tuxedo Theater: On filmmaker Warren Sonbert’, by David Ehrenstein
Warren Sonbert @ LIGHT CONE
WARREN SONBERT FILM COLLECTION
Warren Sonbert @ Canyon Cinema
WARREN SONBERT’S PROPULSIVE CINEMA
Charm Offensive: The Films of Warren Sonbert
Warren Sonbert @ MUBI
Warren Sonbert: A Remembrance
Book: ‘The Writings of Warren Sonbert’
WARREN SONBERT: TRUTH SERUM
The Worlds of Warren Sonbert
Warren Sonbert @ letterboxd
A Delicate Balance: Warren Sonbert’s Creative Legacy
Podcast: Howard Guttenplan and Warren Sonbert
WARREN SONBERT AND THE RELIEF OF ANTI-NARRATIVE
Brief Candles: The Films of Warren Sonbert
Filmmaker Warren Sonbert, 47
Postcards From Warren: The Cinematic Legacy of Warren Sonbert

 

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Extras


The Warren Sonbert Collection Trailer


Warren Sonbert in a cafe in NYC writing in his schedule


postcards from Warren


Jonas Mekas on Jon Gartenberg’s preservation of Warren Sonbert’s estate

 

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Brief Interview

 

How do you decide on the length of your films?

My new film’s length was locked in aco. to the duration of the music tracks (like a Balanchine ballet) (though the longest seq. – 20 mine. – combines 2 diii performances of the same piece of music: a concert version with a Quiet ending and an operatic intro to Gluok’s Iphpgenie in Aulis Cv.). In any case the new wk is 31 mine – somewhat longer than my usual (of late) 20 mine. 20 to 30 mine. for a film is long enough. All films even the good ones – are way too long at the standard 90420 mine.

Certain images recur in your films such as flowers, animals, landscapes,water, etc. Msinly very beautiful images. Do you choose your objects because they are beautiful?

Definitely net. There’s always a double edge to the beauty. Or I try to show stuff that is both attractive and sinister/deadly. Or really there’s both an appreciation of and yet a critical attitude towards the same image. If an Image Is merely beautiful then I try to have it enecreen for the ehorteet possible duration – the editing, the yanking away is the critical elant.

Do you like Bruce Conner’s work? Do you think that you’ve been influenced by him?

I love Bruce’s work and always show his films to my students but he’s no more big an influence than Markopoulee or Brakhage or Sirk or Keaton or Hitchcock or Ophule….

Do you think that advertising (such as tv commercial) Is/can be a kind of poetry?

Of couree – I’m no snob. Kubelka hae made commercials you know. I love poetcarde which are filled with poetry.

What do you think of MW?

I never watch it (save the work of my ex-students).

If you are commissionedto do an MTV music video for a group, what kind of video do you think you’ll make?

I’d love to do it though I’d make sure that the group is NEVER, NEVER shown so I don’t know how happy they’d be about ldmt. I hate it when you eee people mouthing the same words you’re hearing. In any case check out my new film, FRIENDLY WITNESS, which opens with the 4 greatest rook videos ever made (songs from the `50e/early `60e – pre egghead rock) – people should be faDing out of their seats.

 

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10 of Warren Sonbert’s 17 films

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Where Did Our Love Go (1966)
‘Warhol Factory days… [Gerard] Malanga at work… girl rock groups and a disco opening… a romp through the Modern. My second film.’ — WS


the entirety

 

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Hall of Mirrors (1966)
‘This film is an outgrowth of one of Sonbert’s film classes at NYU, in which he was given outtakes from a Hollywood film photographed by Hal Mohr to re-edit into a narrative sequence. Adding to this found footage, Sonbert filmed Warhol’s superstars Rene Ricard and Gerard Malanga in more private and reflective moments.’ — Jon Gartenberg


Excerpt

 

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Amphetamine (1966)
‘In both provocative and playful fashion, AMPHETAMINE depicts young men shooting amphetamines and making love in the era of sex, drugs and rock and roll.’ — Jon Gartenberg

Watch an excerpt here

 

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Carriage Trade (1972)
Carriage Trade was an evolving work-in-progress, and this 61-minute version is the definitive form in which Sonbert realized it, preserved intact from the camera original. With Carriage Trade, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920’s; he particularly disliked the “knee-jerk’ reaction produced by Eisenstein’s montage. In both lectures and writings about his own style of editing, Sonbert described Carriage Trade as “a jig-saw puzzle of postcards to produce varied displaced effects.” This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between individual shots. This occurs through the spectator’s assimilation of “the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing and density of images.”’ — letterboxd

 

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Divided Loyalties (1978)
‘Warren Sonbert described DIVIDED LOYALTIES as a film ‘about art vs. industry and their various crossovers.’ According to film critic Amy Taubin, ‘There is a clear analogy between the filmmaker and the dancers, acrobats and skilled workers who make up so much of his subject matter.’ — Jon Gartenberg

Watch the film VOD here

Listen to audio of Warren Sonbert introducing ‘Divided Loyalties’ here

 

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Noblesse Oblige (1981)
‘The style is relatively unchanged, but the images–press conferences, news events, disasters–convey his vision of the world in a new, direct, political fashion. Featuring startling footage of the City Hall riots after Councilman Dan White received a light prison sentence for slaying San Francisco Mayor George Moscone and Supervisor Harvey Milk, Noblesse Oblige opens a new chapter on Sonbert’s career.’ — David Ehrenstein

Watch an excerpt here

 

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A Woman’s Touch (1983)
‘What is a Sonbert movie like? ”A Woman’s Touch” exemplifies his current style. It begins with celebratory images of women, intercut with fireworks in some of the most dazzling sequences he has ever devised. Men enter the picture later, more threatening in appearance, often wearing uniforms and distanced from the camera. Depicting many people and activities, the shots pass quickly across the screen – relating to one another in multiple ways, suggesting notions and emotions that careen off one another in kaleidoscopic patterns. No ”messages” are thrown at the viewer, since Sonbert likes an indirect, even ambiguous approach. The bulk of the film explores various relationships between the sexes; the ending hints at a new male-female rapport.’ — David Sterritt

Watch an excerpt here

 

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The Cup and the Lip (1986)
‘THE CUP AND THE LIP is a complex and challenging picture that will stimulate adventurous filmmakers for years to come. … Although its imagery is too dense, varied and fast-moving to be thoroughly parsed after one viewing, the film appears to be a regretful and perhaps sardonic essay on human frailty – and on the effort to stave off chaos by means of political and religious institutions, which carry their own dangers of social control and mental manipulation.’ — David ‘Sterritt

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Friendly Witness (1989)
‘In FRIENDLY WITNESS, Sonbert returned, after 20 years, to sound. In the first section of the film, he deftly edits a swirling montage of images – suggestive of loves gained and love lost – to the tunes of four rock songs. “At times the words of the songs seem to relate directly to the images we see…; at other times words and images seem to be working almost at cross-purposes or relating only ironically. Similarly, at times the image rhythm and music rhythm appear to dance together, while at others they go their separate ways.” (Fred Camper)’ — Jon Gartenberg

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Short Fuse (1992)
‘Sonbert was also a noted opera critic, and he frequently theorized about the relationship of film to other art forms, in particular, music. He analogized the notes, chords, and tone clusters of music to the progression of shots in film. The shot was the building block upon which Sonbert created the musical rhythms of his films. Sonbert published excerpts from his feature-film screenplay adaptation of Strauss’ Capriccio, his favorite opera, in 1986. Short Fuse, completed six years later, can be seen as a return to Capriccio’s themes, including ‘Nazism and eroticism, beauty and force, detail and structure.’ (William Graves) Underscoring a question raised by Capriccio–whether in opera the music or the libretto takes priority–Short Fuse is replete with a soundtrack that counterpoints the film’s visuals, prompting the viewer to ask whether the music or the imagery predominates.’ — Jon Gartenberg


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p.s. Hey. ** David Ehrenstein, Hi. ‘Major’ might be pushing it, but we’ll never know. A cool thing about Caravaggio is that he can be whoever you want him to be. I interviewed Derek J. ages ago for the LA Weekly. I think it’s in ‘Smothered in Hugs’. At the Chateau Marmont. He was very nice. So there’s the Sonbert post I managed to cobble together with your kindly tips. ** Ian, Hey there, Ian! Oh, good, about your having found a trustworthy friend to show your story to. Let me know what he says, if you feel like it. My fingers are additionally crossed should they be needed. Homemade pho, nice. Slurp. And Russian doom gets a slurp too, of course. Happy, healthy onrushing Xmas to you! ** Jes, Hi, Jes. Welcome. And thank you for coming in here. Two very good questions right there. I hope his name compelled him, no? ** Jack Skelley, Hey, Jack! Yeah, I had a double take, ‘is that typo?’ kind of moment there. Hugs with jingling attached bells. ** Corey Heiferman, I never met Lucien Carr. It seems like Mr. Ehrenstein might have as he seems to have met almost everybody of note. Hang in there for the next week, man. Sounds very intense. I didn’t have those issues with the Kaufman film while I was watching it, but it’s possible that, on second viewing, and with you having raised them, I might. There’s so much pleasure for me in seeing an American filmmaker/writer making something so intelligent in the ‘mainstream’ context that my opinion might gave it a big loan. I’m amazed he’s getting the big opportunities he is considering how good he is. My guess is that the opportunities will lessen since his stuff is probably not paying his benefactors’ bills as it is. No writers spring to mind re: Pessoa’s tech, no, but I’ll have a think. Very interesting area of interest there, man. ** Bill, Hi, B. I like some of Andre’s early stuff. He’s one of the majority of artists who gets known for doing a certain thing and then makes that his brand whereupon the returns begin to greatly diminish. Xmas cards. I only got two, and I think I can get away with being an ingrate in those cases maybe. I’ve heard of ‘Precarious’. It might be on one of my illegal sites, I’ll check. The only film I’ve watched in the past days is that new Bee Gees documentary for some whim-based reason. It was okay, although it didn’t get into their great psychedelic late 60s stuff nearly enough by my reckoning. ** _Black_Acrylic, Me too, about the Fleury. And, yes, I looked far and wide, and there’s no trace of the video online anywhere, which I think probably speaks to his objections. ** Misanthrope, It’s definitely pretty shit. But I guess it’s amazing those people agreed on anything. Or that’s the silver lining overlay. But, yeah, fuck them with a truncheon. Doctors over here are nicer and more competent, I think. Or I’ve been really lucky. ** Brian O’Connell, Hi, Brian. Well, no one really knows, but apparently bisexuality is a serious option on his part, and, based on his paintings, it wouldn’t shock. Yeah, calling Haneke’s films manipulative was lazy and simplistic of me. I was typing too fast. It’s much more complex than that, I agree. I agree with your assessment. That makes sense. It’s more that I’m surprised I like his films as much as I do given the very pointed turns they take or something. Did you actually read ‘Juliette’ all the way through? I’m a big Sade fan, obviously, but I’ve never read him without skimming a hell of a lot. ‘In a Glass Cage’, interesting. I haven’t seen it since it was originally released. I remember being impressed that it hit the erotic/shocking crux so strongly when it did. And that it did so within a fairly good aesthetic look. I don’t remember much else about it, though. I think David Foster Wallace is one of the very, very best fiction writers in English. And in non-fiction too. His sentence-making abilities drop my jaw in wonder. Yeah, I’m a huge fan of his writing. I didn’t read ‘The Pale King’ because I’m suspicious of it since it was hashed together after his death and without his control. But I love pretty much everything else he wrote. So I guess that’s a recommendation. Your week sounds pretty set. Mine’s kind of a total blank. No plans other than maybe scoring another Buche and maybe a friend Zoom session and trying to stop procrastinating on some work I need to do. It doesn’t look wildly different than any other week, at least from this angle on it. I wish for infinite niceness from your week. You deserve it, bud. ** Okay. I managed to put together a Day about the late and wonderful American filmmaker Warren Sonbert, and I hope you’ll explore it because he’s a very interesting maker of movies. See you tomorrow.

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