FILMOGRAPHY/VIDEOGRAPHY

future

Message from my Centenarian; 2013; 16mm; 7:00
In the year 2079, humans have  developed the capacity to send transmissions into the past. Unfortunately, the Earth is dying. Much of the Earth’s surface—what little of it remains—cannot sustain human life. The survivors press onward at one of the Earth’s two poles. To the south, the Space-Flamers believe the only answer is to sacrifice themselves to the star that gave the human race life for so long. By the thousands, they jettison themselves on space capsules directly into the sun. However, my centenarian, and others like him (me?), believe in an alternative future based on the rewriting of our current time-moment. They believe in a new social construct from which a proto-utopia can emerge. But the message I send myself is short, largely incoherent, and it doesn’t offer instructions of any kind.

America, America; 2012; 16mm to video; 12:00
One America is Dvořák's, from his “American” String Quartet No. 12, composed in 1893. The other is mine, culled from found images of the America born from the moving image. Combined, the portrait spans three centuries.

Norumbega
The Search for Norumbega; 2012; 16mm; 22:00
On the earliest European maps of North America, the unexplored region of present-day Maine was often labeled “Norumbega.” The fabled land was said to be hidden within this vast wilderness, and numerous cartographies placed Norumbega along Maine’s Penobscot River. But did Norumbega ever actually exist, or was it simply a European projection onto an unknown North American landscape—the desire to imagine a space divorced from the problems of European history? If Norumbega was anything more than a mythologized landscape, the limits of knowledge fail to prove its existence. Perhaps the poetic capabilities of the moving image will manifest an alternative future geography—a Norumbega that exists beyond the limits of history, cartography, and nationality.

Scott Camil Will Not Die; 2011; digital video; 84:00
For nearly 40 years, Scott Camil has worked as an educator and activist visiting classrooms and lecture halls speaking out against war as “organized murder.” Scott Camil Will Not Die focuses on Camil's work in these spaces, examining the intersections between Camil as historical figure, Camil as educator, and Camil as himself—a complex individual who struggles with the psychological traumas of war and refuses to be silenced.

         
Ocean Movements Over Barred Island
, Maine
; 2010; digital video; 12:00
Three video screens produce a triptych of Barred Island, Maine. At low tide, a land bridge connects the island to the mother island, Deer Isle. At high tide, the ocean overtakes the land bridge and the islands are separated. Though the ocean may conceal the connection between these two bodies, their inextricable link remains.  

A Highway Called 301; 2010; digital video; 54:00
U.S. Route 301, designated in 1932 as a spur of U.S. Route 1, runs from Sarasota, Florida northward through the Atlantic states and ends just beyond the Delaware Bridge.  Presently, one-thousand and ninety-nine miles of highway connect small towns, bisect otherwise rural landscapes, and provide a vital corridor for commerce and travel. 
A multitude of abandoned structures pepper the landscape and provide evidence of a cultural apparatus that extends both spatially (alongside the highway) and temporally (into past-present-future).  What can the fragmentary evidence of remaining structures, or archi-textures, tell us about the past-present-future cultures who occupy these spaces?  This audio-visual study seeks to answer this question, less in the form of visual-anthropology (ethnographic documentary) and more in the uncharted territory of visual-archaeology (science-non-fiction).

               

Ghost; 2010; 16mm; 3:00
If a ghost is an anomaly of light that takes on human form and the cinema is a machine capable of arranging light in highly organized patterns, then it seems apparitions appear so often in the space where celluloid and light collide that we take these images for granted. When these patterns of light take on human form a man is no longer made of flesh and blood but of machine and light.

Young Machine; 2010; 16mm; 3 min
In the scope of human history, the cinema is a young machine. According to Hollis Frampton, it is also the last machine. It is the first machine capable of reanimating the dead. At 21 frames per second, it begins to breathe life into otherwise lifeless cells—the inner-workings of the machine imperceptible to the human eye. At 24 frames, “it’s alive!”

Workout Video (part 1); 2010; video; 5:00
Part one of an experimental trilogy
of workout videos. This video is intended for beginners.

This is not a Pipe Bomb; 2010; digital video; 4:00

In the paranoiac landscape of the 21st century, when is a pipe something far more threatening, like a pipe bomb?


Warships; 2010; 16mm; 1:30; silent
World War Two battleships flicker and fade in the celluloid.

Beats per Minute; 2010; 16mm; 2:00; silent
A cameraless film that ignores the film frame. The result becomes twenty-four beats per minute.

White House; 2009; digital video; 8:00

Three compositions in a single shot investigate the people, politics, and space in front of the White House.


Dead Buffalo; 2009; digital video; 85:00

A neo-western chronicling the last days of Charlie Johnson’s life, Dead Buffalo follows Charlie and his son Dusty as they venture westward towards the Great Plains.  Under the influence of prescribed medications, and after reading Black Elk Speaks (an account of 19th century Sioux culture), Charlie has a vision which tells him he must “see the buffalo and restore the sacred hoop.”

Road to Katahdin; 2008; Super 8mm; 10:00

This Super 8mm film is a personal study regarding Mount Katahdin, the highest peak in Maine, and its ever-changing relationship to humans over the past 10,000 years.

Fragments from an Endless War; 2008; 16mm; 6:30

Comprised entirely of 16mm found footage, Fragments examines American culture in an era that has been defined by a state of permanent economic and military warfare.


Immokalee U.S.A.
;
2008; digital video 77:00

Utilizing largely ethnographic and observational approaches to documentary filmmaking, Immokalee U.S.A. chronicles the daily experiences of migrant farmworkers living and working in the U.S.A.  “In an aesthetically pure documentary in the vérité tradition, Koszulinski allows the audience a more immersive, emotional experience than most documentaries on the subject…  What is our collective role in this chain of servitude?, the film seems to ask us, providing an opening for self-reflection rather than didactic sermonizing.” (program notes, Maine International Film Festival) 

America in Pictures; 2007; 16mm to video; 8:00

AIP examines American landscapes both real and imagined, using found footage, original 16mm cinematography and images produced using light exposure techniques without the aid of a camera.  “…A work of art in its own way; the images are intriguing, the concept is unique, and the original score is great…” (MicroFilmmaker Magazine, Issue 20 June, 2007)

Cracker Crazy: Invisible Histories of the Sunshine State; 2007; digital video; 92:00

Using archival materials and original Super 8 cinematography, Cracker examines Florida History from a decidedly different point of view.  Koszulinski did his homework - he plundered state archives for vintage images and footage to mix with his own original footage... which traces the Sunshine State's history from the earliest inhabitants to the present day." (The Tallahassee Democrat)


Silent Voyeur;
2004; Super 16mm; 80:00.

Exploring memory and the manipulation of history, all from the perspective of our amnesiac protagonist, “Silent Voyeur’ is an experience and it’s one that’s not likely to be forgotten easily.” (Eric Campos, Film Threat)  “…The Story ultimately reaches out beyond this secluded cabin for a thought-provoking capper to this well-crafted indie psychodrama.” (Underground Oddities, Shock Cinema, #33)

Blood of the Beast; 2003; digital video; 70:00

Combining archival footage within the structure of a conventional narrative, BOTB creates a future dystopia where mankind is doomed to extinction.  “…delivers an aesthetic juggernaut.  Koszulinski is a major talent to watch…” (Cultcuts Magazine) 

Desinformatsia
; 2002; digital video; 45:00

In 1966, Saul Lennewitz believed he was receiving long wave radio frequencies from extraterrestrial intelligence.  His evidence was destroyed by the U.S. Government. The film chronicles Lennewitz’s subsequent descent into madness.

All Content (c) 2003-2013 Substream Films - info@substreamfilms.com