text file - info on the films of snakebeings biog film-ografy

text file of the following words http://snakebeings.co.nz/films/ more arts: http://circuit47.com/ Hamilton Underground Film Festival: http://circuit47.com/huff/ The shrines of Snakebeings: http://snakebeings.co.nz/shrines/index.html The collected short films of Emit Snake-Beings: Vol 1 2009 contents The shrine Cholera clocks (Santa Arson) Pylon pirates The remote viewers Alchemical Pilgrimage The death of an orchestra Thomas Aquinas The Trons music video Transmitter in Tibet (featuring Mongolian BBq) Pumpkin soup Mostly filmed on super 8mm film and transfered to digital video - High quality telecine transfere made in London, Spain, New Zealand between 1990 and 2009 sound by snakebeings >>>>>>>>>>>>>>>>>>>>>>>> See more details at www.snakebeings.co.nz see circuit47.com to download the snakebeings and maggotism international archive for free These films are licensed under the creative commons license freakyflicks Seeded by Karen Karnak global enterprises Please share and seed them. Emit Snake-Beings, who over several decades has travelled intensively in Spain, Holland, the Middle East, Mexico, America and Japan, is a New Zealand / British experimental filmmaker and musician who has produced over 40 independently released film soundtrack CDs and made a number of short experimental and narrative films in Spain, U.K. and New Zealand. After completing a joint degree in computer graphic design and film studies, Emit has recently moved towards ‘material’ animation employing puppetry and video stop motion combined with computer post-production. www.snakebeings.co.nz. His latest film project, in collaboration with http://www.obertfunciona.es , from Tarragona is called ‘Plastic’ and is based on a Petroleum Cult set in the near future in which Oil Relics are worshipped to a point of insanity. The Remote Viewers 2008 Telepaths within the electrical hermitages around Mount Te Aroha work with the local population - brain washing them through the use of street speakers which transmit alchemical to keep the population docile. The source of these broadcasts is shown to be the main stream mass media operating on officially approved frequency bandwidths. Under the guidence of remote viewing telepaths a technological witch-doctor called Nana Shamanic becomes the tool of the technicians observing this psychic effect. Behind the voice of control: A strange man in a puppet booth dispenses scrolls of power The remote viewers walk from the moon and embed themselves in your living room-once there there hatch a self replicating egg from an alien source-there is no stopping them even thought the original creature has long gone the echo of the echo lives on fore ever-revitialised each time you switch on the tube laboratory tests conducted within the closed hermetical seal of the grid cartesian coordinates descartes torture war kill situationism laboratory FACTORY REPLICATION UNTIL THE COPY IS THE COPY OF SOMETHING WHICH WAS NOT REAL ANYWAY- THE FACTORY WORKER RETURNS HOME TO WATCH "FACTORY" THE REALITY TV SHOW IN WHICH HE HAS BEGUN TO FEATURE- IT IS INTERUPTED BY THE FIGUREHEAD OF CAPITALISM [IN NEW ZEALAND ANYHOW] WHO PRESENTS A SPECIAL OFFER- ONE WHICH HE CAN NOT REFUSE A three part series which examines the telepaths of Te Aroha, a small town in New Zealand - transmitting subliminal signals across the pylons from their Electrical hermitages Filmed 2005/6/7/8 by Snakebeings The Remote Viewers ( 2007) A SHORT FILM BY SNAKE BEINGS 2005 Review by Spider monk EE, 2006 There’s a strong dystopian ideal driving Snake Beings’ short film ´Nana Shaemanic’; the air-waves have been controlled by the mass media mega-corps through “music enhancing additives which have been embedded in all radio transmittions since 1974”. We find this out through a police-state voice-over, which is used throughout the film. There is also an underlying soundtrack consisting of some Snake-Beings tracks, in their various incarnations. The action is a surrealistic interpretation of the dystopian voice-over, complete with exquisitely antequated radios, aerials and oscillators. There are also an interesting array of production techniques, such as lo-fi blue screening, fish eye camera shots, word overlaps, microscopic viewpoints, stills speed sequences, and some sublime super 8mm footage that Snake Beings shot himself, in transit over Auckand N.Z, and to the pyramids of Mexico, by the way of some Fijian dried and numbered frogs. The role of the title character seems to be to represent “the intuative process of the human psyche”, and there are some nice pictorial contrasts between pylon-revved settings and the transcendent lightness of the character. It appears that Nana Shaemanic is being manipulated by the negative transmittions. Sometimes she is shown to be experimented upon, in a state of negative rewiring. The remote viewers in the film, lab-coated document makers, sometimes working outside on circuiting transmitters, at other times laying down clumps of reality in plastic classified bags, on a conveyer belt, trying to classify chaos. This, and their group viewing of the tortured Nana, are strong symbolic vehicles of the machinary of the mass-media, and its psychotic desire to control and classify; at times itself being chanelled by the elements of chaos that they find in remote viewing exercises. The film has a lot of notions to take in, but the strong symbolism that is used makes it easy to get the basic gist of it, and on repeat viewings it becomes more apparent, and decipherable, especially if you pay attention to the narrative. I would recommend this film to people interested in modern surrealism and also to anyone who thinks, or who can think, slightly outside of the square, for it is the square in a sense that this film is critiqueing, and it is the psychic notion of free thought, and the time slicing dimension represented by the at times Kali-like white figue of Nana Shaemanic that sets it apart from other films that also critique the mass-medias control of society.

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