What's up, docs.?

Electric Eye Cinema screens nonfiction films in an alternative space
 

By James Kreul
 

It is a very good sign that Madison's first "microcinema," Electric Eye Cinema, has been established as a monthly series at the Electric Earth Café, 546 W Washington Ave. In the spirit of the nickelodeon pioneers who converted storefronts into early venues for motion pictures, a movement has emerged across the country for alternative cinema showcases in nontraditional spaces. These microcinemas have become important venues for experimental films and activist documentaries, and their presence in cities such as Seattle and Minneapolis has often been connected to the emergence of a strong local filmmaking scene. The next Electric Eye screening will be Thursday, May 24, at 8 p.m., featuring the documentaries Beyond the Screams and Poetic License.

Organizer Brian Standing enjoyed several alternative venues while living in Minneapolis, such as the Bryant-Lake Bowl and the Soap Factory, but he was disappointed to find a lack of such venues when he moved to Madison. "Minneapolis had great places to share ideas, see some thought-provoking films and meet potential collaborators and mentors," Standing says, and his efforts with Electric Eye Cinema are encouraging first steps toward building that kind of community here.

An important component of each monthly screening is the hour-long Open Reel, where local filmmakers can show their work. As with the "open mike" format, the results can be hit or miss. But having attended many open film and video shows on campus, I was very encouraged by last month's Open Reel where I saw work by videomakers I had never met before. The existence of an off-campus venue for local work is crucial for the growth of a filmmaking scene, allowing videomakers to share images and sounds from our community.

Standing argues that current documentaries often get a bad rap, either as dry, dead-history lessons or exploitative "reality televison" expos6s. But many independent documentaries are not distributed or exhibited by the mainstream media, so most viewers are not exposed to the wide range of work within the field. To address this problem, Standing has established a co-op, Prolefeed Studios, that distributes videos from across the country, many of which will be featured in the first season of Electric Eye Cinema. "They are all witty, intelligent and thoughtful," Standing says, "They all touch on issues of importance, like political revolution, lit erature, housing, transportation and the consumer economy, but without being pedantic about it." While these documentaries do not all have the buzz that commercially released documentaries can get, several have made an impact on the alternative exhibition circuit. Next month, I'm looking forward to finally catching up with Jim Taylor's Subdue the Universe, which follows eccentric candidates for President of the United States at the New Hampshire primary.

The highlight of the May 24 screening is David Yanofsky's Poetic License, which, unlike most of the Electric Eye films, received significant funding and publicity through the Independent Television Service and has already been broadcast by many PBS stations. But because it was not picked up by Wisconsin Public Television, the Electric Eye screening will be its Wisconsin premiere.

Poetic License explores the development of teen poetry slams as a national phenomenon and follows teams from across the country as they travel to the 1999 national championships. The first half is a bit dry, and perhaps too dependent on talking heads to explain what is better understood through experience. But once Yanofsky introduces us to individual poets, the film takes off. One particularly effective sequence begins with static coverage of 17-year-old Asheena McNeil's on-stage introduction to her poem "125th Street Blues"; then Yanofsky dissolves to McNeil performing the same poem while walking through her neighborhood. While we do learn about these young people through their words performed on stage, it is not until we see the images and hear the sounds that inspired their works that we understand why these ms are not just writing exercises. These kids writ e and perform because they have to.

As with any makeshift exhibition venue, there area few problems with the Electric Earth space. The screen needs to be higher to prevent sightline problems, and the large front windows should be covered to prevent headlights from beaming in. But hopefully Electric Eye will build a loyal audience once people realize what a valuable resource it is, and even these small problems are part of its charm. If enough people follow his lead, perhaps Standing will once again find himself in a town with a vibrant local independent film scene.