Tom, Tom, the Piper's Son (film)

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Tom, Tom, the Piper's Son
Directed by Ken Jacobs
Distributed by The Film-Makers' Cooperative
Release date
  • 1969 (1969)
Running time
115 minutes
CountryUnited States
LanguageSilent

Tom, Tom, the Piper's Son is a 1969 American experimental film made by Ken Jacobs. [1]

Contents

Summary

The 1969 film uses the 1905 film of the same name as its source material. Tom, Tom, the Piper's Son (1969) 1.jpg
The 1969 film uses the 1905 film of the same name as its source material.

In a meticulous experiment in rephotography, Jacobs deconstructs, manipulates, and recontextualizes a small fragment of found footage: a 1905 film showing a group of people chasing a thief through a barn, (shot and directed by G.W. 'Billy' Bitzer). [2] In the words of Chicago Reader critic Fred Camper, it is "a film about watching movies." [3]

Production

Preservationist Kemp Niver restored early silent films by transferring paper prints from the Library of Congress to 16 mm reels which he could distribute. [4] In 1968, Jacobs read about a screening by Niver at the Museum of Modern Art, in a New York Times article by Vincent Canby. [5] He rented a print to show his students at St. John's University. [6] The reel included Tom, Tom, the Piper's Son, The Suburbanite (1904), and An Acadian Elopement (1907). [7] Jacobs was unfamiliar with the nursery rhyme on which the Biograph film is based. Because of its dense visual composition, he did not notice the pig being stolen and was left confused why the chase was happening. [8] Only after many viewings did he notice that a pig was present in the scene. [9]

Jacobs worked with his friend Jordan Meyers to rephotograph the Biograph film at his home. Using a Victor Animatograph projector, Jacobs projected the original film onto a translucent screen. He or Meyers then recorded images off the screen, shooting with a handheld Arriflex 16 mm camera. [10] [11] Jacobs first presented unfinished versions of the film in private screenings. [12] [13] He added a color sequence resembling a shadow play as well as a section where the image moves vertically due to the film strip jumping in the projector gate. [14] [15]

Legacy

The film is considered a landmark in avant-garde and structural filmmaking, and remains Jacobs' best-known work. [3] It was inducted to the National Film Registry in 2007, and is part of Anthology Film Archives' "Essential Cinema" repertory. [16]

See also

References

  1. Artfourm
  2. TCM.com
  3. 1 2 Chicago Reader
  4. Bordwell 1997, p. 102.
  5. Habib 2020, p. 265.
  6. Habib 2018, p. 40.
  7. Habib 2020, pp. 265–266.
  8. Turvey, Malcolm (2011). "Ken Jacobs: Digital Revelationist*". October (137): 117–120. JSTOR   23014890.
  9. MacDonald 2015, p. 200.
  10. Pierson, James & Arthur 2011, p. 99.
  11. Habib 2020, pp. 266, 272.
  12. Takahashi, Tess (2012). "Experimental Screens in the 1960s and 1970s: The Site of Community". Cinema Journal . 51 (2): 165. doi:10.1353/cj.2012.0013.
  13. Sitney 1970, p. 335.
  14. Sitney 1974, p. 405.
  15. Eagan 2010, pp. 681–682.
  16. Anthology Film Archives: Film Screenings

Bibliography