PXL THIS 22

PXL THIS is the annual toy camera film festival featuring Pixelvision films made with the Fisher-Price PXL-2000 camcorder. The second oldest film festival in LA, PXL THIS celebrates visionary moving image artists from 4-years-olds to professionals.



for immediate release

contact: Gerry Fialka 310-306-7330 pfsuzy@aol.com http://www.laughtears.com/



PXL THIS 22, the 22nd annual toy camera film festival, screens Mon, Dec 10 at 7 & 9pm (two different shows, with 6pm preshow) at Unurban, 3301 Pico Blvd, Santa Monica CA 90401, 310-315-0056, free admission



Featuring new entries from seminal Pixelvision filmmakers: Lisa Marr, Paolo Davanzo, Paul Bacca, Doug Ing,

Will Erokan, Clifford Novey, Denny Moynahan, Will Erokan and many more.



PXL THIS sites: http://pxl2000.blogspot.com/ and http://sites.google.com/site/pxlthis/ and http://www.youtube.com/user/pxlthis



PXL THIS celebrates its 22nd year of creative filmmaking by everyone from kids to professionals. One of the most unique film festivals ever, PXL THIS has been attended by Oliver Stone, Daryl Hannah, Kim Fowley among many more. Pixelvision has even made it onto the big screen via Richard Linklater (Slacker), Michael Almereyda (Nadja, produced by David Lynch) and Craig Baldwin (Sonic Outlaws). The irresistible irony of the PXL 2000 is that the camera's ease-of-use and affordability, which entirely democratizes movie-making, has inspired the creation of some of the most visionary, avant and luminous film of our time.



"If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly



PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. Past PXL THIS participants have included Lee Ranaldo (Sonic Youth), Chris Metzler (Fishbone & Salton Sea documentaries), James & Sadie Benning, Joe Gibbons, Cecilia Dougherty, Peggy Ahwesh, Jesse Drew, Margie Strosser and Michael Almereyda.



"Gerry Fialka’s annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director



"Gerry Fialka's PXL THIS festival snaps, crackles and pops off the screen with the funky, user-friendly energy of real first-person cinema. Goofy, gorgeous, and altogether groovy, his provocative program of pieces produced with the Fisher-Price PXL 2000 toy video camera is not only downright entertaining, but more, its blipping and buzzing black 'n' white picture-bits coalesce into a veritable inspiration to all those who cherish the playful, spontaneous gestures and low-cost of electronic folk art." - Craig Baldwin, director & curator.



"All the PXL THIS videos reflect festival organizer Gerry Fialka's commitment to the freedom produced by making art without financial constraints. PXL THIS is a welcome highlight in the Los Angeles media scene celebrating the rich lexicon available in a tool which might initially seem rather limiting." - Holly Willis, LA Weekly.



"Pixelvision may be firmly ensconced in the pantheon of once-popular dead media, but for many of the faithful it captures the heart of the American experience as it should be seen: in basic black and white." - David Cotner. LA Weekly



"PXL is the ultimate people's video." - J. Hoberman, Premiere Magazine.



Seminal film critic Pauline Kael evoked Pixelvision in her book Hooked: "I am still a child before a moving image."



Hollywood Reporter called Pixelvision a "precursor of today's DV filmmaking."



"When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS." - George Manupelli, founder of the Ann Arbor Film Festival, filmmaker, poet, collagist and political/environmental activist



"I didn't really like the work I thought was my best work. I liked the stuff I didn't like a lot more." Hollis Frampton evoking Pixelvision in 1978,



PXL THIS Director Fialka - hires 300 dpi still with PXL Cam - http://www.laughtears.com/images/Gerry-360dpi.jpg and Bio - http://www.laughtears.com/bio.html & http://gerryfialka.blogspot.com/



PXL THIS 22 screens May 23 at http://www.echoparkfilmcenter.org/



PXL THIS 23 - Entry deadline Oct 22, 2013 - simply send a dvd to Gerry Fialka 2427 1/2 Glyndon Ave, Venice, CA 90291, 310-306-7330, pfsuzy@aol.com NO entry fee.





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Program Notes for San Francisco Cinematheque's AN INVENTION WITHOUT A FUTURE -

PIXELVISION: ELECTRONIC FOLK ART. (comprehensive history of PXL THIS and Pixelvision)

http://docs.google.com/viewer?a=v&q=cache:VT1Pm-oc9goJ:www.sfcinematheque.org/ee/images/uploads/PN2_10PXL.PDF+%22san+francisco+cinematheque%22+pxl&hl=en&gl=us&pid=bl&srcid=ADGEESii8N3c8YRRSdwGAdMDLt-VKxQRzG6MQ09Mj0i2zVNcte74oKqNp8XdA54dGE5LuWvVYUo96Z5hbhzIb_qYhhkkroluQYFeIiCSzSl6-Wp4wcbyC7fDzlR3Wr60Hi_x_HME_Zit&sig=AHIEtbTh3oEPNjWhZHgpiIsAm0RS4PQrMQ



Andrea Nina McCarthy's 2005 MIT thesis "Toying With Obsolescence: Pixelvision Filmmakers & The Fisher Price PXL 2000 Camera" is essential reading.http://webcache.googleusercontent.com/search?q=cache:pwHJLt5QPRkJ:cms.mit.edu/research/theses/AndreaMcCarty2005.pdf+pxl+2000+mit&cd=2&hl=en&ct=clnk&gl=us



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Toy Stories by David Cotner LA Weekly 5-12-11 - 1987 was a fairly dull year for culture. Hardcore's fire dwindled and modern art faded into the background amidst the rise of EuroDisney, Pat Robertson for President and the founding of Aum Shinrikyo. Occasionally there were high points: the KLF, Final Fantasy and the issue of the Fisher-Price PXL2000. Meant to be a child's first video camera, it used cassettes as its recording medium, producing grainy, security-cam-quality images. The PXL THIS Film Festival enters its 20th year of life, with festival founder Gerry Fialka and PXL2000 filmmakers appearing tonight to screen their films. Featured in the fest: Wickstead's Wonder, a film about PXL2000 inventor James Wickstead; Arroyo Seco River Song, a tribute to the L.A. River tributary; 4-year-old Anwyn Lees' remake of The Wizard of Oz on her front porch with her dad and mom; Baltimore dada/experimentalist tENTATIVELY a cONVENIENCE's film Philosopher's Union Member's Mouthpiece; and Fialka's own Parallel Worlder, a cross between the dance of Martha Graham and the satire of W.C. Fields. Pixelvision may be firmly ensconced in the pantheon of once-popular dead media, but for many of the faithful it captures the heart of the American experience as it should be seen: in basic black and white.

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Blur + Sharpen If it Works, It's Obsolete by Holly Willis 12-11-10

http://www.kcet.org/socal/voices/blur-sharpen/if-it-works-its-obsolete.html

Gerry Fialka is LA's tireless advocate for alternative media and DIY culture generally, and the creative potential of the PXL 2000, a cheap, plastic toy video camera made by Fisher-Price in the 1980s, in particular. The camera produces a glitchy, chunky black-and-white image that's, well, often quite beautiful. For 20 years, the Venice-based media proponent has been showcasing videos made with the PXL 2000 camera in the PXL This video festival, which returns with a celebratory 20th annual showcase this Monday night, December 13, with two shows (7:00 p.m. and 9:00 p.m.) at the Unurban Coffeehouse at 3301 Pico Blvd, Santa Monica. I took the anniversary as an opportunity to ask Gerry a few questions, starting with what makes the PXL 2000 camera interesting in a world where we now have so many video camera options.



"McLuhan said, 'If it works, it's obsolete,'" says Gerry. "The PXL is remarkable because it does not work." Gerry is referring here to the fact that the camera does not even attempt to mimic reality; it's not interested in clarity, resolution or fidelity. Instead, the camera produces a glimpse of the world, one that underscores visual manipulation and dismisses attempts at perfection. "Giving the viewer less information might mean more involvement by the viewer," Gerry suggests. "It enables the possibility of 'breakdown as breakthrough.'" Considering the array of camera options, Gerry adds, "There's lots of video cams on the market that have some similar features, but none with the unique gothic dreamy look - there are lots of cool words that have described its services and disservices!"

Shooting with the PXL 2000 is also fun. It's nicely shaped, lightweight, and now, nearly 30 years after its birth, boasts a sleek retro look that the little Flip video camera will never have. Oddly enough, the camera records onto sound cassettes, and the image itself is framed with a black matte, giving the resulting footage an elegant look in contrast with the chaos of the imagery itself. When you use a PXL Vision camera, you really have to negotiate with the camera; the process is about discovery rather than capture. "We are really about McLuhan's adage, 'We shape our tools, then they shape us,'" adds Gerry. "That's the meta-cognition here." He goes on to suggest that often artists try to rekindle the visionary delight of children, and using a toy contributes to that sense of creativity and rule-breaking.

Gerry notes that technically he does not "curate" the festival. "I show every entry," he explains. "We welcome kids and homeless people and rich art kids and so on. We celebrate a tool, and we leave it to the audience and press to make aesthetic judgments." He adds that audience reactions definitely shift each year. "'Anything that's popular is a rear-view image,'" Gerry adds, again quoting Marshall McLuhan. "We are not a popular festival." That said, the show is an annual highlight for those seeking offbeat imagery and storytelling, and creativity that emerges in dialogue with imperfect and magical toy tools. More info: 310-306-7330. [Images taken from a PXL 2000 user's manual, available here.]

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Introducing Gerry Fialka's PXL THIS 20 Film Festival by Joseph Mael 11-30-10

http://www.examiner.com/santa-monica-city-buzz-in-los-angeles/introducing-gerry-fialka-s-pxl-this-20

"Curator Gerry Fialka puts together events of films both experimental and socially conscious." - LA City Beat

Maybe certain happenings are meant to be kept discreet but then again there is always that “A-HA!” moment when circumstances lend to the belief that a certain happening is going to blow up. For the PXL THIS Film Festival, it hasn't happened yet. Or maybe it has. Creator of L.A.'s 2nd longest running film festival, Gerry Fialka, brings PXL THIS 20 to life to continue the underground legacy of the revolutionary PXL 2000 video camcorder on December 13th, 2010 at Unurban Cafe in Santa Monica. Produced by Fisher Price (there were 400,000 units released for sale from 1987 to 1989), this “toy” renders a unique video image and now has a legendary history that has firmly left a fingerprint on the history of film-making. The camera produces an image from 2,000 “dots” that is in contrast with modern film technology, particularly when held up to the 150,000+ dots on today's televison, the PXL 2000 elicits a unique image directors enjoy incorporating with heavy duty film machinery.

I had the opportunity to ask Gerry about this year's PXL THIS this week and here's how he answered a couple questions I found relevant:

Q: Can I get a quick reflection by you on PXL THIS 20? What does it mean to you?

A: What the PXL THIS Film Festival means to me is deconstructing moving image art-making and the whole idea of a film festival. We gather the community to share in the creative process, bare bones style. Both in making and in watching, PXL THIS encourages participation, the same way that the PXL image offers little and requires the viewers to heighten their awareness and fill in the blanks. The gap is where the action is - the resonating interval. In Marcel Duchampian spirit, how do you make a film festival that is not a film festival? T S Eliot said that poetry is outing your inner dialogue. What form is your inner dialogue in? Maybe its that dreamy illusive Pixelvision image for some. An extension of consciousness? The next medium ? The Non-physical? The possibility of a world without words? Low definition can mean high participation. PXL THIS means to me connectedness not consumerism, hoicking up an ecstatic new state of tribal immediacy and involvement, simultaneity, all-at-onceness. The Balinese have no word for art, they do everything as well as they can. I salute all Pixelators and PXL THIS audience members who for two decades have mustered up multi-dimensions and multi-sensuousness.

Q: Is PXL THIS the largest publicly accessible pixelvision collection in the world?

A: YES, our archives are stored at The Academy, which is truly a major hoot. The cheeziest genuine fake film festival in the world is treated by the most important Film Archives in the world with respect. They feel that its worth storing and preserving. It reflects what humans can do. As McLuhan said, we shape our tools then they shape us



Pixelvision History



Fialka, self-described as a para-media ecologist based in Venice, CA, is the visionary behind the PXL 2000 fetish. To say he has a way with words is an understatement. He describes the festival by stating, “PXL THIS features films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by re-framing a new cinema language. Past PXL THIS participants have included Lee Ranaldo (Sonic Youth), Chris Metzler (Fishbone & Salton Sea documentaries), James & Sadie Benning, Joe Gibbons, Cecilia Dougherty, Peggy Ahwesh, Jesse Drew, Margie Strosser and Michael Almereyda.” When he describes how the outside world has described PXL THIS he proudly states, "We really love that the “New York Times” called PXL THIS “small” and that lots of our best entries come from Venice California’s Boardwalk performers (as in “houseless” — not homeless because the earth is everyone’s home)."



Pixelvision's history as a tool of choice by experimental filmmakers took off after a grant by the Rockefeller Foundation was awarded to Sadie Benning for her work with the PXL 2000 in 1993. PXL 2000 footage was used in the films Slacker (1991) and Hamlet (2000). Over time, from its brief period on the shelves as a toy for for children to current day, the PXL 2000 format has resurfaced from a failed technology to a prized cult object that even became a thesis topic for some students (McCarty, 2005).

“There is something about the quality of the image that is really dreamlike and it has a feeling of being in the past already even though you just shot it. It is not quite reality or not quite representational of what's really happening at that moment, so it already has this distancing effect of feeling like it's already in the past somehow. “ – Sadie Benning, Award-winning Pixelvision artist



Most of the videos included in the PXL THIS 20 film festival are between 3 and 6 minutes in length though some of the gems in past PXL THIS festivals extended over ten minutes in duration. The festival's following is quite dedicated but it somehow keeps a low profile. If you missed the October submission deadline, don't fret, this film festival has a cult-like following and Fialka receives a growing number of entries each passing year. If you have old PXL 2000 films laying around, your entry into the next PXL THIS is always welcome. Fialka says, "Pixelators return to innocence by using, and even misusing, moving image art to view worlds that usually go unnoticed, evoking children's spirited desire to explore."



Low brow, or high brow? You decide, but as J. Hoberman of Premier Magazine said, “PXL is the ultimate people's video.”



Gerry Fialka believe's PXL THIS is best described by his hero, George Manupelli, founder of the Ann Arbor Film Festival, who said, “When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS.” Yep, that's a tough thought to top.



"Gerry Fialka’s annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director



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Pixelvision enables filmmakers to tap into that child-like innocence all artists seek in the creative process. What could be easier than starting with a kids toy. John Lane's 2001 book Timeless Simplicity articulates wabi-sabi, "the perfect antidote to the pervasively slick style of homogenized efficency." Pixelvisionaries evoke the spirit of Wabi-sabi: "This elusive philosphy is about sufficiency and restraint. It is about simplicity, the minor and hidden, the modest and humble, the imperfect and the evanescent. It is about treading lightly on the planet. An added dimension is its implicit message urging us to forget the seductions of success - wealth, status, power and luxury."



"As for the PXL 2000 camera, because it’s a child’s toy there’s a certain naiveté which is inherent in the productions. Yet due to its technology, the PXL 2000 camera produces these edgy, gritty, “rough as a night in jail” images. I find the juxtaposition of these two attributes very interesting and useful in many of the politically oriented pieces I’ve produced. From a technical perspective, I would say my primary contribution to the field is that I created a filmmaking style using the PXL 2000 which I call Machinima Vérité. Machinima Vérité combines Machinima (creating movies from 3D PC game engines) with Cinéma Vérité techniques to create a sense of realism. So basically I produce and render the movie from a game engine on a PC, display the video on a high resolution LCD, and recapture the video on the LCD using a PXL 2000 camera. My videos “CATACLYSM” and “bursting in air” are a couple of examples of this technique. I really appreciate all of the effort Gerry Fialka puts in with the PXL THIS festival. If it weren’t for Gerry, interest in the PXL 2000 would have died out many years ago." - L. M. Sabo



"Gerry Fialka's monthly film series 7 Dudley Cinema provides and oft nourishes the most avant/eclectic/experimental/kook/philosophical and damn downright entertaining filmmaking this side of Andre Breton and the Exquisite Corpse Crew. His programming is the only reason I will go west of Western Avenue, unless I'm neck deep in the Pacific Ocean. - Filmmaker/Actor Emmy (The Volcano) Collins



"Gerry Fialka is Los Angeles' preeminent underground film curator." - Robin Menken, cinemawithoutborders.com



PXL THIS Director Gerry Fialka is available for Pixelvision & Media Ecology workshops. http://www.laughtears.com/workshops.html



"Fialka's workshops are in depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, Award-winning filmmaker



Cinesource PXL article by Gerry Fialka - http://cinesourcemagazine.com/index.php?/site/comments/pxl_triple_fake/



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Check out this amazing site by Will Erokan, who posted the past 20 PXL THIS festivals online

http://willerokan.com/pxlthis.html



and here's the individual links...

http://www.archive.org/details/PXLTHIS_01

http://www.archive.org/details/PXLTHIS_02

http://www.archive.org/details/PXLTHIS_03

http://www.archive.org/details/PXLTHIS_04

http://www.archive.org/details/PXLTHIS_05

http://www.archive.org/details/PXLTHIS_06

http://www.archive.org/details/PXLTHIS_07

http://www.archive.org/details/PXLTHIS_08

http://www.archive.org/details/PXLTHIS_09

http://www.archive.org/details/PXLTHIS_10

http://www.archive.org/details/PXLTHIS_11

http://www.archive.org/details/PXLTHIS_12

http://www.archive.org/details/PXLTHIS_13

http://www.archive.org/details/PXLTHIS_14

http://www.archive.org/details/PXLTHIS_15

http://www.archive.org/details/PXLTHIS_16

http://www.archive.org/details/PXLTHIS_17

http://www.archive.org/details/PXLTHIS_18

http://www.archive.org/details/PXLTHIS_19

http://www.archive.org/details/PXLTHIS_20



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michaelkoshkin@gmail.com is making a documentary about Pixelvision.