Janie Geiser

Janie Geiser (b. 1957 in Baton Rouge, Louisiana) is an American artist and experimental filmmaker. She is part of the American Avant-Garde movement. Her notable works include The Fourth Watch, Terrace 49, The Red Book, The Secret Story, Colors, Immer Zu, Lost Motion, and Clouded Sulphur.

Janie Geiser
Born	{Born 1957 } [1] Baton Rouge, Louisiana
Nationality	American
Education	University of Georgia
Known for	Visual/Theater Artist, Experimental Filmmaker, Performance Art
Notable work	The Fourth Watch, Terrace 49, The Red Book, The Secret Story, Colors, Immer Zu, Lost Motion, ‘’Clouded Sulphur’’
Movement	American Avant-Garde
Awards	1989 Obie Award for Special Citation

Biography

Janie Geiser was born in 1957 in Baton Rouge, Louisiana to her mother and father. Geiser is married to Lewis Klahr. She is the second oldest child among six total children. Geiser’s oldest sibling died due to a fever very early on in life. Janie Geiser attended the University of Georgia and graduated in 1973 with a degree in art. Her experiences with puppetry up to that point had been few and uninspiring. She never performed with the few three dimensional figures that she had experimented with in school. Upon completion of university, Geiser quickly set to work as a visual artist, exhibiting her drawings and paintings in Atlanta art galleries. By taking a job as the curator of a non-profit, multi-arts organization called Nexus, Geiser began to meet and collaborate with artists from many different fields.

After her time at Nexus, Geiser took a part-time job in the 1980s as the curator of the Center for Puppetry Art's puppet exhibits. In 1990, Geiser moved to New York City where she founded "Janie Geiser and Co.", a collection of New York actors and puppeteers. She has created and performed four shows in New York, with a fifth show, called "Infrared", in the works. In 1990, Geiser also released the first of her three short puppet films, Royal Terror Theater.^[2]

Around 2008 during the creation of her film, Ghost Algebra, Geiser experienced a strange health problem. She has a feeling of “electricity in her nerves”. It might’ve been caused by something getting pinched, because it did happen right after she had received a massage. It also could have been a vitamin deficiency. Geiser visited all kinds of doctors, had an MRI, went to a neurologist, and what seemed to help the most was a combination of acupuncture and herbs. The cause of her health issue was never determined and symptoms still surfaces occasionally. This health issue served as an inspiration for her film, Ghost Algebra.^[3] In addition to career accomplishments, Geiser is married to Lewis Klahr. Klahr is a master collagist who has been making films since 1977. Together they have a son. Geiser’s father has since died from lung disease.

Major Works / Oeuvres

The Fourth Watch (2000)

Like many of Geiser's films, the film was produced inside the filmmaker's own home. Geiser filmed the dollhouse in broad daylight giving the film a more natural light, but the shading from the leaves outside her window casts equivocal and dark shadows into the rooms. This film is composed of superimposed black and white film images from silent horror movies, which lay inside the interior of a 1940s tin dollhouse. The dollhouse was only a thrift store find but reminded the filmmaker of her own home. By shooting the dollhouse and rephotography sequences in-camera, an illusion of time is created by multiple characters crossing through the same space or gestures crossing through multiple rooms. Since Geiser used minimal markers when it came to making the video, much was left to be exposed to the elements. For example, some of the image flows over the border as if they were being produced by a projector on an unfitting screen. This condemns the film a non-traditional frame-by-frame shot, with figures illuminating towards off-screen spaces. The figures are fixated in one spot and are seemly haunted with carrying out their repeated actions.^[4]

Terrace 49 (2004)

The title of this piece was taken from the name of street in Los Angeles, suggesting to Geiser that it belongs to one of many terraces The footage was derived from the 1960s cartoon series Fantastic Four, and was clipped during the moments of imminent doom- a telephone dangling from its hook, a truck approaching the cliff-side, ropes quivering from unseen tension. The Invisible woman is the heroine of the series, yet her face is never exposed. Instead, she is seen when her body visibly turns “invisible”. Through different moments of Terrace 49, the filmmaker unveils the three modes of invisibility that describe The Invisible Woman through the cartoon series. There are times that she is fully invisible, seen solely in the effects of the physical objects she touches; other moments when she is identified by a transparent outline of a figure; and lastly, when she is fully presented as a white and solid torso without any noticeable features. Halfway through the film, the ropes break and as one waits for the destruction, the truck is pulled into reverse and the disaster is inverted. Geiser is playing with the moment of suspense, when imagined death has arrived. She toggles the moment in between life and death, the space between the two realms.^[5]

Ultima Thule (2002)

Ultima Thule is a film that attempts to create a map of the terrain outside the borders of the known world, and the title is taken from the medieval name for this place. Geiser combines stop-motion animation, using objects such as dolls, toys, paper, and other found objects, along with rephotographed footage to tell the story of the survivors of a plane crash after it was swept into the sea during a storm. A young, mysterious girl becomes their guide to lead them to the next world. The mystery of the unknown is a major theme in the film, and the survivors are shown in a state of limbo, an ambiguous space between life and death. Footage used in the film is taken from Disney’s Dumbo (1941) and Peter Pan (1953), along with clips from the Godzilla move Ghidrah, the Three-Headed Monster (1964), all of which contain the narrative of wayward children and separation from their parents’ world. The way in which Geiser rephotographed the clips make them almost unrecognizable, and she does not cite the source material at any point during the film for both legal and aesthetic reasons.^[6]

The Spider’s Wheels (2006)

Geiser was inspired by the heroines in early film serials, known as the “serial queens,” along with the display of heightened feminine power in film throughout history and how they are reflected in political and cultural movements. The Spider’s Wheels is a cinematic diorama-installation combining projection, sculpture, and film. The piece is centered on the star of a fictitious serial about a female detective known as “The Spider.” Found footage of a contemporary actress playing a silent film star heroine is projected throughout the different areas of the installation. The projection areas include sculptural areas such as a Plexiglas box with metal flaps that serves as a silver screen, a wire mesh screen resembling a web that rises and falls in a three-minute cycle while the footage is projected onto it, and a staircase that leads to a door where the viewer must look through a peephole in order to view the scene.^[7]

Automata

Automata is a non-profit organization founded by Janie Geiser and Susan Simpson, located at 504 Chung King Court in the Chinatown District of Los Angeles. This organization is a center for “experimental puppet theater, experimental film, and other contemporary art practices centered on ideas of artifice and performing objects.”^[8] Automata invites playwrights and composers, puppeteers and designers, visual artists, and new media experimenters to collaborate and create new works using performing objects. The Automata has a specific interest in creating intimate shows for their viewers, emphasizing in personal interactions with the crowd and allowing for dialogue and communication between the performers and the audience. Geiser has teamed up with Erik Ehn, Trudi Cohen, Alma Sheppard-Matsuo, Severin Behnen, Jeanette Oi-Suk Yew, John Eckert and others to produce award winning and highly acclaimed small puppet theater programs.^[9]

References

1. "Janie Geiser". imdb.com. Retrieved 3 September 2014.
2. Tickell, Steven. "A Brief Look at the Work of Janie Geiser". The Ballard Institute and Museum of Puppetry. University of Connecticut. Retrieved 3 September 2014.
3. Robinson, Ward. "Janie Geiser: Trying to get Closer to the Meaning of Things". L.A. Record. Retrieved 3 September 2014.
4. Yue, Genevieve (July 2009). "Lost at Sea: Intermedial Encounters in the Films of Janie Geiser" 36 (36): 121–122.
5. Yue, Genevieve (July 2009). "Lost at Sea: Intermedial Encounters in the Films of Janie Geiser" 36 (36): 121–122.
6. Geiser, Janie (2004). Looking at light and Shadows. p. 30.
7. Barlow, Melinda (2007). Toward a Feminist "Coney Island of the Avant-Garde". Afterimage. pp. 21–7.
8. Geiser, Janie. "Automata". Janiegeiser.com. Retrieved 3 September 2014.
9. "News and Press". http://www.automata-la.org. Retrieved 3 September 2014. External link in |website= (help)