I Touched Her Legs, 2010, & We Chose the Milky Way, 2015
Monday, Sept. 19, 2016
Canzani Center Screening Room, 8 p.m.
Prior to the screening, there will be a live foley performance by the artist Kelly Kirshtner. Filmmaker Eva Rødbro will then introduce the films, and a Q&A will follow the screening.
About the films:
I Touched Her Legs is an extraordinary portrait of a group of Southern teens hanging out in cars, rooms, and neighborhood yards in humid pool-party weather. Through subtly glancing shots taken at oblique angles and in brief bursts, I Touched Her Legs reaches directly into the soul of this small band of friends and explains everything that is important without a single dull expository declaration on their circumstances. Winner of The Barbara Aronofsky Latham Award for Emerging Experimental Video Artist — 49th Ann Arbor Film Festival. Winner of Most Inventive Film Award — OFF 2011.
Director: Eva Rødbro. Runtime: 15 minutes.
We Chose The Milky Way takes place in a world where everything is artificial — except the friendships. The 2015 film is part hip hop video, part social-realist science fiction, part documentary, and part Spring Breakers. Winner of George Manupelli Founder’s Spirit Award at the Ann Arbor Film Festival 2016.
Director: Eva Rødbro. Runtime: 26 minutes.
About the filmmaker:
Danish photographer and director Eva Rødbro (born 1980) lives and works in Copenhagen. She graduated from the National Danish Film School in 2015 and Gerrit Rietveld Academie in 2008. She has exhibited and screened internationally at numerous shows, events, and festivals, including FOAM, W139, NL fotomuseum, Berlin Documentary Forum, Charlottenborg Kunsthal, CPH:DOX, and the Ann Arbor Film Festival. She has documented the wild youth of teenagers in Greenland and the United States in her award-winning shorts Fuck You Kiss Me (2008), I Touched Her Legs (2010), Kriger (2013), Dan Mark (2014), and We Chose the Milky Way (2015).
About the live foley performance:
Kelly Kirshtner will perform a live foley soundtrack to a short video loop, adding additional sounds on each pass of the loop, leading to the gradual completion of a “full” accompanying soundtrack. After recording a predetermined number of sounds, the older tracks begin to decay, dismantling the soundtrack even as new sounds are recorded. The work of the piece then becomes to perceive and maintain a balance between sonic creation and decay, and to both reinforce the original narrative (sounds of actions seen onscreen) and to invent an alternative narrative (sounds for the space off screen).
About the performer:
Kelly Kirshtner is a media scholar, visual artist, and sound recordist whose work often explores the back rooms of perceptual systems and production practices. She has written extensively about sound and visual culture, on topics ranging from the microphone’s conceptual positioning in early radio and film to essays on sonic resistance in performance and public space. Her video and sound works also examine the shifting spaces of acoustic presence, and have been exhibited and screened nationally and internationally. A graduate of the School of the Art Institute of Chicago (MFA) and the University of California, Irvine (PhD), Kirshtner is currently Assistant Professor of Film/Video at the University of Wisconsin-Milwaukee, where she teaches courses in sound design, film sound history and aesthetics, field recording, and audio post-production.