Trouble in the Image

Trouble in the Image

PG 1996 · 38 min · ★ 6.8

Optical printing pioneer Pat O’Neill uses “his skills in special effects production to extrapolate metaphysical meaning from the ordinariness of industrialized culture” (Scott Stark). In O’Neill’s playful film, “trouble in the image” may take the form of a disturbing moment in a narrative, how-to instructions for creating an image, or pictures that break apart and lose their literal meaning. O'Neill: “The film [is] made up of dozens of performances dislodged from other contexts. These are often relocated into contemporary industrial landscapes, or interrupted by the chopping, shredding, or flattening of special-effects technology turned against itself. The reward is to be found in immersion within a space of complex and intricate formal relationships”. Preserved by the Academy Film Archive in 2016.

Directed by Pat O'Neill

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"O'Neill found an envelope labeled 'Helen's Coreopsis' with seeds from a 1935 visit his mother had made to her sister in Nebraska. His film COREOPSIS was made by scratching into developed and discarded pieces of film stock revealing pink, yellow and clear layers. This remnant of his memory of her is performed and inscribed in these excised layers." - Erika Suderburg
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"Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach." —Mark Toscano. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.
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"FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume." - J. Hoberman, The Village Voice
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Short film of 7 sections with each one using a different experimental film technique.
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Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yardchair, upon which sits The Creator, impassively observing the inexorable flow of His mountains.
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★ 5.11974
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Television programming takes it on the chin in this ribald spoof of the networks.
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