Spike & Mike's Sick & Twisted Festival of Animation

I closed off 2011 with the last film festival viewing being that of the long running “Spike and Mike’s Sick and Twisted Festival of Animation.”  Short animated works by a variety of filmmakers who set out to shock, gross out, and ensue hilarity through their creations.

While most of our Absurdist artists here are more the type to use a long screwdriver and slowly churn the screw to produce a form of twisted absurdism that fucks with the head in a subtle but strong way, the spike/mike animators will just use a power drill, driving in the screw direct to produce a quick and easy shot of twisted absurdity. The kind you don’t have to think much about. It’s shit/piss/and penis filled material and that’s how it should be for their form of not always easy, but at least quickly digestable, cinema. And it was a huge relief to see that the animation did actually deliver on the sick and twisted front in the latest Spike and Mike installment, which closed out 2011, opening up hope for a twisted cinematic 2012 and beyond.

The last time I went to a Spike and Mike festival was probably a decade or so ago. And it sucked. I remember one guy in the audience would actually stand up after several of the shorts finished and yell aloud: “THAT WAS NOT SICK, NOR WAS IT TWISTED!”  And the rest of the audience agreed. Much of the work felt mainstream and you wondered what the hell these shorts were doing in the festival.

The selection process seemed to mirror the times and the attitude of alternative cinema everywhere. This was a time, a decade or so ago, when underground cinema seemed to be dying on all fronts. At the usual so called “alternative” film festivals it was “mumblecore” that was being touted as the new underground. A hipster/poser cinema movement where the message was basically the celebration of hipster/poser’ism.  Online works by outsiders, weirdos, and up/coming cinematic deviants were being ignored. No one really knew how to handle the technology from Digital Video to eventually YouTube, so a wave of mediocrity swept through screening venues and festivals which were once home to more transgressive works. The early 2000′s laid the cement down for nearly a decades worth of venue fluff.

But the much needed cracks in the concrete have been forming over the last few years. And now, sprouting up from the cracks, is a new wave of twisted transgressiveness many artists, and audiences, have been yearning for.

Watching the latest Spike and Mike’s Festival of Animation reminded me of shows from the late 90’s, when underground works were still being produced and celebrated on screen. I actually took note at the end of each film to see the production date, as if having to blink twice making sure these indeed were new works, and then surprised that, yes, most I noted were.

As mentioned things have been picking up for the underground. And this latest Sick and Twisted fest convinces me further that the lamecore movement of the past decade has in fact died, and we are at the beginning of a new decade of true, new underground works both in the “long screw” artistic Absurdism celebrated on this site, as well as the straight up screw, shit-piss and penis underground.

 

AVA reviewer Brian Burks takes on the latest Absurdist endeavours from theater and video art troupe, COLLAPSE.

    “Bear Killin’,” the short video piece directed by video artist Kelly Broich, featuring performance artist Anne McDonald, is one of the strangest clown videos I’ve seen this month. The film shows a female clown knifing and then ripping apart a stuffed Winnie the Poo holding a heart that says “I Love You.” It is tempting to apply meaning to this film, even if no real meaning exists. The symbolic imagery seems to suggest a sort of deconstruction of childhood motifs common to Western culture.

    The stuffed toy bear, a source of bedtime comfort to so many children is dismembered by a clown, of all things, the traditional source of entertainment at birthday parties, fairs and circuses. This revolting clown then proceeds to try on Winnie the Poo’s head. After trying on the freshly butchered skin, we hit our dramatic finale when the heartless clown tears open Winnie’s heart.

    The video is fascinating and disturbing, unnerving and thrilling; it is painful, yes, yet it can also be therapeutic if embraced with open legs.

    Thankfully this video was short because it aggravates my coulrophobia, but a perverted, courageous side of me wanted to overcome my fear of this multicolored monster so I proceeded to watch the homicidal clown kill Winnie the Poo over and over, again and again and again.  

Just look at this thing. Notice the mismatched gloves? One for killin’ and one for fashion? Who does it think it is?

The Collapse clowns don’t stop here…

Meet Boner Salad—part of Kollapse for Kidz.

“I’m your friend!”

    This video is disturbing with the acidy pedophiliac basement feel, but easier to digest thematically… Boner Salad is revealing and demystifying the bitter truth of the world, and he’s doing it to our children: he’s waking them up to the realities they certainly won’t understand as toddlers and will probably never understand as adults.

  ”Life is meaningless, there is no God, and babies are bad,” says Boner Salad in a delightfully sardonic voice. Boner’s message to the “kidz,” and the moral of this video piece seems to be that the more babies we create the faster we eat the earth. We must accept the simple truth that life is ultimately meaningless, God’s laws are nothing short of arbitrary dogma, and His word amounts to nothing more than fairy tales with which we abuse our children. It is time to throw off the cultural and religious blinders that are directing us toward species suicide.  

    But maybe not. Maybe Boner Salad is just a dickhead who likes to scare little kids.

I fired off Facebook questions to both Broich and McDonald for more clarity as to the motives and inspirations behind these pieces. This is what I received in return:

   “Many in the Collapse cult are undergoing a metamorphosis,” said McDonald. “These are no longer costumes. Clowns are who we are becoming, who we want to be, clowns are who we really are… inside.”

    Broich sent back a clown painting made as a child with a simple “artistic statement”: “It is a 1989 self-portrait of my true inner-clown.”

From the above painting we can see that Broich’s genius was obvious even as a child, though nobody of significance noticed in time to save him from himself.

Brian Burks teaches ancient Esperanto at Carrington College and is a freelance art critic.

Novelist Joey Goebel reviews Collapse Theater/American Films piece, “TCN – The Commercial Network”

After having watched the short film “The Commercial Network,” I find it difficult to watch TV commercials in the same way.  Ads that once seemed silly–or inane at worst–have now taken on a creepy, even sinister air.  Leave it to Idaho filmmaker/playwright/satirist Kelly Broich to take something as commonplace as a TV ad and expose it as one more symptom of the festering soul of our runaway capitalism.

The premise is simple:  Three dumb American men decide to waste the evening away in front of the TV watching something called “The Commercial Network,” which is exactly what it sounds like.  Interestingly, the commercials are real ones we are all too familiar with:  the Kia gerbils, Alec Baldwin credit cards, Carl Jr.’s, etc.  But with Broich adding a sense of foreboding that grows with each passing commercial, once innocent ads now seem sleazy and absurd.  The three viewers are perversely affected by the commercials, and with this dark new context, it hit me like a Louisville Slugger to the forehead:  Yes, that Carl Jr (aka Hardee’s in the east) commercial where the Greek gods and goddesses are worshipping a cheeseburger IS fucked up.  (I must add that Carl Jr.’s/Hardee’s have been running the worst commercials in the history of the medium, presumably due to their target demographics, which is apparently dickheads of the male variety.)

“The Commercial Network” is an experimental film in the best possible way, and its twisted humor—a hallmark of any Broich/American Films production—is what keeps it from veering anywhere near pretentious territory.  It is a bizarre indictment of commerce at its trashiest, and in a hilarious way, it exposes idiotic commercials as for what they might potentially be:  thirty second spots of evil.

Joey Goebel is the author of the satirical novels, The Anomalies, Torture the Artist and Commonwealth.

http://www.joeygoebel.com

Goebel books on Amazon: http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Joey+Goebel

AVA’s own American Films have taken their act to the stage in the form of theater, operating under the moniker “COLLAPSE THEATER”. Imagine their short films in stage play form, but much more tightly written and with a slew of additional actors, many seemingly itching to dive into the Absurdist material that Amercian Films have been experimenting with for over a decade through film.

But the films haven’t stopped. Recently they had a 2 week run for their play OUTSIDE. And premiering at the last few shows was the new short film “TCN – THE COMMERCIAL NETWORK”, featuring familiar faces from classic Amercian Films pieces.

“THE COMMERCIAL NETWORK”

Commercial making and commercial watching have grown to unreal levels. Some commercials now resemble that of short films with budgets in the millions. Others hawk unbelievable products in fast cut music video style. From Corporations to snake oil salesmen, everyone’s in on the game. And people are watching. The Superbowl nowadays is watched by millions of new viewers, but not for the actual Superbowl. For the premiere of all the new commercials in between.

It only makes sense then that the latest trend would be to eliminate the programming altogether, and instead just create a network devoted entirely to commercials. While cable producers, network execs and the like are slow to jump on this, Collapse Theater is ahead of the pack with the introduction of “TCN”, The Commercial Network.

The short begins with mind numbing 80′s nostalgia viewing by a trio of couch potato TV addicts. Yet quickly things devolve into a smorgasbord of commercials brought to you by TCN, at the insistence of the younger and dumber couch potato who seeks a stronger numbing fix of something more frantic; something that will really fuck him up. TCN delivers.

Eventually the viewers dissolve into commercials themselves; reciting one line jingles, made up commercial catch phrases. The viewer and commercial eventually become one as they allow themselves to be consumed by the visual and audio propaganda assault.

The modern Little Red Riding Hood, reared on singing commercials, has no objection to being eaten by the wolf. – Marshall Mcluhan

If smokers could have instant downloadable easy access to x-rays of their lungs, they could see all the gunk buildup and may re-think their nicotine intake, while taking steps to detox.

Similarly if commercial TV watchers could see an x-ray of their subconscious they would be presented with a similar image of nasty gunk buildup in the brain. And likely they would reach for the bottle of bleach to pour in through the ears hoping it will reach the brain and disinfect the media mildew, unclog the mind altering buildup.

Basically, the short film “The Commercial Network”, is that x-ray.

The film shows the real effects of what commercials do to the brain. How all the highlights create that buildup of gunk. After watching “TCN” you instantly feel infected. Nothing gets neatly processed inside our heads when we subject ourselves to a barrage of visual adverts, all designed to forcefully tell us how inadequate we are, how we are lacking, how convenience should be king, and how popping a pill will make it all better.

As with smoking – we know it’s not good, it’s easy to fall into, the bad effects invisible – commercials are the same but easier to inhale and the effects don’t get a surgeon general warning.

As TCN reveals, the commercials are a drug, which eventually need to be countered by another drug in order to cope and feel better.  And if you don’t leave the room or medicate yourself to a far off island, today’s quick cut frantic back to back commercials of corporate snuff, pill popping propaganda and padded butt panties, will easily leave you suffering from similar effects to that of a horrible acid trip.

See what you are really ingesting. Watch the The Commercial Network.

Celebrating his 100th YouTubian video art upload, with a new masterpiece (which could possibly turn the celebration into a suspension of his entire YouTube channel), absurdist Eli Elliott presents SUMMER POLITIKO, “a political thriller which hoiks back up the most important politiko events of the previous summer, with brief homage to a summer years prior, where a Culture Jammer billionaire almost took the wheel and set sail to what knows what.”

Multiple character performances, suspense and romance, wrapped up in heavily laced political insight, SUMMER POLITIKO dazzles as one of the years most important political shorts.

Ab-Surd-ism

Posted: September 18, 2011 in Uncategorized
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Recent NICK ZEDD Video Interview

Posted: September 9, 2011 in Uncategorized
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A great new interview from the Netherlands featuring Nick Zedd whose work is showing at the BUT Film Festival.