THE GREAT FLOOD
a film by Bill Morrison / music by Bill Frisell
2013 / 75' / USA
26 sept / h 6PM
27 sept / h 5PM
28 sept / h 6PM
The Mississippi River Flood of 1927 was the most destructive river flood in American history. In the spring of 1927, the river broke out of its earthen embankments in 145 places and inundated 27,000 square miles. Part of its legacy was the forced exodus of displaced sharecroppers, who left plantation life and migrated to Northern cities, adapting to an industrial society with its own set of challenges.
Musically, the Great Migration fueled the evolution of acoustic blues to electric blues bands that thrived in cities like Memphis, Detroit and Chicago becoming the wellspring for R&B and rock as well as developing jazz styles.
THE GREAT FLOOD is a collaboration between filmmaker and multimedia artist Bill Morrison and guitarist and composer Bill Frisell inspired by the 1927 catastrophe.
In the spring of 2011, as the Mississippi River was again flooding to levels not seen since 1927, Frisell, Morrison, and the band traveled together from New Orleans, through Vicksburg, Clarksdale, Memphis, Davenport, Iowa, St. Louis and on up to Chicago.
For the film, Morrison scoured film archives, including the Fox Movietone Newsfilm Library and the National archives, for footage of the Mississippi River Flood. All film documenting this catastrophe was shot on volatile nitrate stock, and what footage remains is pock marked and partially deteriorated. The degraded filmstock figures prominently in Morrison's aesthetic with distorted images suggesting different planes of reality in the story-those lived, dreamt, or remembered.
For the score, Frisell has drawn upon his wide musical palette informed by elements of American roots music, but refracted through his uniquely evocative approach that highlights essential qualities of his thematic focus. Playing guitar, Frisell is joined by Tony Scherr on bass, Kenny Wollesen on drums and Ron Miles on trumpet.
In THE GREAT FLOOD, the bubbles and washes of decaying footage is associated with the destructive force of rising water, the filmstock seeming to have been bathed in the same water as the images depicted on it. These layers of visual information, paired with Frisell's music, become contemporary again. We see the images through a prism of history, but one that dances with the sound of modern music.
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"[THE GREAT FLOOD] would be a memorable drama even played in total silence. In closeup, it shows trickling streams and rain on cotton plants swelling into torrents; cigar-toting politicians gesticulate reassuringly, and the wealthy making dignified retreats while the impoverished cling to the remains of shacks. Guitarist Bill Frisell's live soundtrack of howling blues chords, Thelonious Monk hooks, country-swing and Old Man River quotes would make a fine concert without a film, too. Put the two together [and] the result moves up another creative and emotional level." —The Guardian
Musically, the Great Migration fueled the evolution of acoustic blues to electric blues bands that thrived in cities like Memphis, Detroit and Chicago becoming the wellspring for R&B and rock as well as developing jazz styles.
THE GREAT FLOOD is a collaboration between filmmaker and multimedia artist Bill Morrison and guitarist and composer Bill Frisell inspired by the 1927 catastrophe.
In the spring of 2011, as the Mississippi River was again flooding to levels not seen since 1927, Frisell, Morrison, and the band traveled together from New Orleans, through Vicksburg, Clarksdale, Memphis, Davenport, Iowa, St. Louis and on up to Chicago.
For the film, Morrison scoured film archives, including the Fox Movietone Newsfilm Library and the National archives, for footage of the Mississippi River Flood. All film documenting this catastrophe was shot on volatile nitrate stock, and what footage remains is pock marked and partially deteriorated. The degraded filmstock figures prominently in Morrison's aesthetic with distorted images suggesting different planes of reality in the story-those lived, dreamt, or remembered.
For the score, Frisell has drawn upon his wide musical palette informed by elements of American roots music, but refracted through his uniquely evocative approach that highlights essential qualities of his thematic focus. Playing guitar, Frisell is joined by Tony Scherr on bass, Kenny Wollesen on drums and Ron Miles on trumpet.
In THE GREAT FLOOD, the bubbles and washes of decaying footage is associated with the destructive force of rising water, the filmstock seeming to have been bathed in the same water as the images depicted on it. These layers of visual information, paired with Frisell's music, become contemporary again. We see the images through a prism of history, but one that dances with the sound of modern music.
......................................................................................................................................
"[THE GREAT FLOOD] would be a memorable drama even played in total silence. In closeup, it shows trickling streams and rain on cotton plants swelling into torrents; cigar-toting politicians gesticulate reassuringly, and the wealthy making dignified retreats while the impoverished cling to the remains of shacks. Guitarist Bill Frisell's live soundtrack of howling blues chords, Thelonious Monk hooks, country-swing and Old Man River quotes would make a fine concert without a film, too. Put the two together [and] the result moves up another creative and emotional level." —The Guardian
BILL MORRISON
Over the past twenty years,Bill Morrison (director, editor) has built a filmography of more than thirty projects that have been presented in theaters, museums, galleries and concert halls worldwide.
His work often makes use of rare archival footage in which forgotten film imagery is reframed as part of our collective mythology.
Morrison’s work often combines archival material with original footage to create unique visual tapestries that are set to contemporary music.
He has collaborated with some of the most influential composers of our time, including John Adams, Laurie Anderson, Gavin Bryars, Dave Douglas, Michael Gordon, Henryk
Gørecki, Bill Frisell, Vijay Iyer, Jóhann Jóhannsson, David Lang, Julia Wolfe, and Steve Reich, among others.
Decasia, his feature length collaboration with composer Michael Gordon, was described by J. Hoberman in the Village Voice as “the most widely acclaimed American avantgarde film of the fin-de-siècle.”
Morrison's films are in the collection of the Museum of Modern Art, TheNederlands Filmmuseum, and The Library of Congress.
He is a Guggenheim fellow and has received the Alpert Award for the Arts, an NEA Creativity Grant, a Creative Capital grant, and a fellowship from the Foundation for Contemporary Arts. His work with Ridge Theater has been recognized with two Bessie awards and an Obie Award.
Spark of Being, his adaptation of Mary Shelley’s Frankenstein with composer Dave Douglas was recently honored as the Best Experimental / Independent Film of 2011 by the Los Angeles Film Critics Association.
“One of the most adventurous American filmmakers”
—Robert Koehler, Variety