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Grafitti Verite 3
Sunday, August 27, 8pm ATA

Bob Bryan, 2000, 54 min, Premiere Award winning independent filmmaker Bob Bryan presents GV3: The Final Episode (Graffiti Verite' 3). GV3  is the latest installment of his three (3) part documentary series exploring the controversial underground Graffiti Art Movement.  In GV3, Bryan steps away from the traditional storytelling format this time around and reinvents himself by using contemporary musical idioms from different countries to proclaim the narrative. Ethnic, World, Hip Hop, Techno, Metal, Fusion, Ballads and House music all conspire to disorient our sensibilities and preconceptions about this underground art form. This experimental opus probes the socio-political context that distracts the average person from appreciating the historical artistic significance and social impact of Graf. Making a brief aural appearance is PJay, former leader of the infamous West Coast Artists Graffiti crew. Advising all who enter "to free your mind"; PJay's brief visit along with reoccurring visual cryptic billboards loom as apparitions  keeping the uninitiated on track in this complicated matrix known as Graffiti Art. "Graffiti found typically but not exclusively on the walls of our urban cities, clearly unveils the angst driven drama that exists within the psyche of the Graffiti Writer as well as in our conflicted egocentric society. Graffiti dares to show us what we've become. For many people this is a very difficult reality to come to grips with, especially if you're in denial of any complicity Graffiti mirrors the best and worst elements of our society... period," says Bryan. GV3 is a poetic voyage, a meditation into the iconography of Graffiti Art featuring an eclectic soundtrack as it's emotional and intellectual core. GV3: The Final Episode is a compelling sensorial experience, shockingly honest and defiantly politically incorrect. GV3 follows in the Golden footsteps of Bryan's documentaries Graffiti Verite' (1995) and GV2: Freedom of Expression? (1998) which are both considered urban classics and are currently in world wide distribution (

preceded by:

Beyond the Screams
Martin Sorrondeguy, 1999, 30 min

Beyond the Screams/Mas Alla de Los Gritos Martin Sorrondeguy, 1999, 30 min. Beyond the Screams is a half-hour video documentary about Chicano/Latino participation in U.S. punk and hardcore, a statement which hardly begins to encapsulate the project begun here. Bracketed by the early East L.A. punk scene (featuring too-short interviews with Alice Armendariz from The Bags and Teresa Covarrubias from The Brat) and '90s U.S. hardcore, Martin Sorrondeguy traces the historical trajectory of Chicano/Latino punk rock and more, its always-emergent body politic, with brilliant skill. In voice-over (as boys in a pit mosh in slow motion), Martin outlines the premise of Mas Alla: "The Latino punk scene in the early '90s really exploded because all of a sudden we had a hell of a lot to sing about. What started happening politically in the U.S. pissed us off so much, and we were feeling targeted and we were feeling cornered as a community that we began writing songs about it." As such, Mas Alla is incredibly moving and effective, and on a number of levels immediate and far-reaching. Well-edited interviews, stills and show footage make for a dense but riveting thirty-minute record of Chicano/Latino participation in punk rock, indexed here as a culturally vital and politicized counterpublic, a kind of punk rock "teaching machine." Members from Subsistencia, Kontra Attaque, Bread and Circuits, Los Crudos and Huasipungo discuss the political nature of their everyday lives and art, the implications of singing in Spanish and dialoguing at shows, and the mechanisms of both survival and insurgency. Newsreel clips of border patrol and police brutality are made that much more harrowing by Revolucion X's snarl-delivered cynicism, the words scrolling across a funereal black screen: "Killing Mexicans is too much fun!" Latin American dictatorships, NAFTA, a slew of anti-immigrant measures fuel the gut-level rage and critical impetus; corresponding resistance movements inform this unabashedly leftist analysis of punk as passionate politics. With all the revisionist timelines of punk rock being published, this is an important recovery and contextualization of otherwise hidden histories and unacknowledged influences. The result is a collective self-portrait of art as activism with transnational ramifications and impressive vision. -Punk Planet for full article:

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