Jakobois Trailers
Crime contre le cinéma TrailerFragments TrailerRumeurs Saint-Maur Trailer
The road which led Jakobois, like many experimental film-makers, to filmic expression was painting. This development he owes to a succession of encounters and personal choices rather than to a university or art school. He has worked in the mediums of sculpture and painting since 1972, influenced by the writings of Jean Dubuffet and the work of Paul Klee, exploring the confluence between minimal art and gestural expression. His first encounters with experimental film date back to 1976, and occurred in the meeting places and specialized programs which at the time proliferated on both banks of the Seine in Paris. He began with using the Super 8 medium, working autonomously as an "artist film maker". His work has been seen in many film festivals as far as Rotterdam, London, Tokyo, Moscow and New York, including a major retrospective season of his films in Paris at the Centre Pompidou in 1988. He was a member of the group "4 à 4 Métro BarbèsRochechou Art" with Téo Hernandez, Michel Nedjar and Gaël Badaud.
Most Popular Jakobois Trailers
Total trailers found: 60
05 February 2020
The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre Pompidou.
31 December 1983
Outtakes from the movie
17 March 1986
"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims' path to Saint-Denis) and suddenly make me want to take a closer look.
20 December 1978
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011.
19 April 1977
Eclamorphoses balances a loop of sound (by La Monte Young) with loops of visual material derived from re-photographed slides of amorphous painted abstractions which are carefully and systematically permuted by super-impositions, scratches, punctures, slices, reticulated paint-on-the-film-strip, step-printing, changes of projector speed, and finally zooming of the image with the projector lens and live manipulation of the projector and light beam (with a hand-held prism).
28 January 1987
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body.
05 December 1989
Intervalometered cafe scene from 1988. The transient beauty of Paris in Summer captured on so many 8mm frames.
01 January 1983
Outtakes from the movie
31 December 1978
Film in three parts: (1) Paranorama 3 and 4: a handmade Région Centrale. At once observation and description of the realm of vision, of what is possible to see (sound recorded at the time of shooting).
31 December 1984
Outtakes from the movie
25 January 1983
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
01 January 1981
Diary-films, portraits of visitors. Visiteurs is the result of great editing work, while Portrait de Gaël was made in two times, two places, without editing, improvising with the camera.
31 December 1987
These are two diaries (filmed) from the holidays at the foot of the cliffs of Etretat, which served as a style exercise for me.
30 August 1977
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates.
01 January 1984
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.
14 December 1982
Reel 26 of Gérard Courant’s on-going Cinematon series.
16 March 1979
One of Mark Rappaport's later narratives (which won the Gold Hugo for Best First Feature at the Chicago International Film Festival in 1979), Impostors is an off-kilter comedy/mystery focused on two magicians trying to find Egyptian jewels, their promiscuous assistant, and a man who loves the assistant.
01 January 1979
Kitsch style portrait. Family movie. Improvised on a spring day, with the exceptional participation of Raphaële and Suzy Tromelin and the involuntary participation of Fernandel.
12 December 1979
Self-observation of the sleeper in an elliptical time ordered according to the rhythm of the shots. Revelation of a gesture that cinema does not usually take into account.
01 January 1981
Will the homosexual find his alter-ego? Who's on the phone? While the hair is cut, the faces parade, which one is the good one? So many questions-pretexts for a visual and sound delirium.
31 December 1984
Film based on a phrase by Teo Hernández: "Each new film is for me a step into the void, into darkness, into mystery.
01 January 1980
Throughout the trip to present the action film Le Sexe du loup-garou in Lyon, in 1980, Jakobois and his assistant undertake a travel diary.
08 June 1983
Film made by passing - passing through - passing through - passing from an erotic desire to a filmic desire.
01 January 1982
Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square.
02 May 1988
Passage du désir, a prelude by Jakobois uses the pornographic video-image to which a rhythmical treatment has been given.
29 October 1984
Images from the bridge over Canal Saint-Martin in Paris. The inland waterway vessels Rose and Pluie de roses pass each other.
16 March 1983
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
22 December 1978
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural.
29 October 1984
"...the main thing, both during filming and during editing, was not to pay attention, simply to wait to be surprised by a detail and let myself be carried away to another visualization in a dance-like movement.
19 April 1980
Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández.
01 January 1980
Sarah B. relives her awkward film debut. On a pedestal table, a headline, on the front page of France-Soir, challenges her, she immediately transcends it, then resumes "Phèdre" one last time under the astonished gaze of the kids of Belleville before spending one last summer in Belle-Île.
31 December 1984
Chutes de Lacrima Christi is an 95‑minute experimental collage film assembled entirely from unused outtakes of Teo Hernández’s earlier work Lacrima Christi.
31 December 1983
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
29 June 1977
When going from a painting job to a cinematographic work, I felt the need to establish the basic concepts of my creative activity.
16 December 1985
March 29, 1983 (2:30 p.m.): filming of "Sur la voie" begins. Along the way the words guide me; It is about reaching them on the fly to try to reveal them immediately.
