The Projection Space. (A Projection Event).

Film (1964) by Samuel Beckett, was screened, or projected onto Peter Tyndall’s Billboard Project titled “The Supreme Goddess as Void, with projection-space for image” at Ocular Lab in 2007. Peter Tyndall’s Billboard was part of Raafat Ishak’s Billboard Projects.

Film is directed by Alan Schneider
Produced by Barney Rosset

O: Buster Keaton
Nell Harrison: Passerby
James Karen: Passerby

About Film.

Beckett’s own cinematic short, starring a somewhat reluctant Buster Keaton. Foxrock provides the following synopsis:

Samuel Beckett’s only venture into the medium of cinema, Film was written in 1963 and filmed in New York in the summer of 1964, directed by Alan Schneider and featuring Buster Keaton. For the shooting Mr. Beckett made his only trip to America. The film, which has no dialogue, takes its basis Berkeley’s theory Esse est percepti, that is “to be is to be perceived”: even after all outside perception, be it animal, human or divine, has been suppressed, self perception remains. Film was edited by Sydney Meyers and the cinematography was by Boris Kaufman. Film was produced by Barney Rosset and Evergreen Theater.


Film was also the subject of a work created for the exhibition:

End Game – Late capitalist Realism, 2006
Damiano Bertoli, Cate Consandine, Chantal Faust, Danielle Freakley, Kate Fulton, Brad Haylock, Katherine Huang, Raafat Ishak, Sean Loughrey, Tom Nicholson (with Andrew Byrne), The Rollergrooves (Narinda Reeders and Tai Snaith), Bernhard Sachs, David Simpkin.
The Office of Utopic Procedures’ 2006 project Endgame includes new work by fifteen contemporary artists, working and living in Melbourne and devolves from a series of ongoing conversations and artists’ projects. Endgame addresses the issue of the dystopic, framed in terms of an analysis of the current cultural moment as the pathology of a type of reality principle. The Office of Utopic Procedures is an umbrella concept for a series of projects directed specifically to the circulation of symbolic language as a political problem.


Moments for 2006 (Tribute to Samuel Beckett’s Film (1964), 2006. DVD (11 mins), monitors, light, Installation view. Photo Christian Capurro.

The top monitor presents Film as a formal screening while the four slightly larger monitors present a type of re-enactment of the original.

Samuel Beckett’s Film and Deleuze 2