FILMOGRAPHY/VIDEOGRAPHY


         
Ocean Movements Over Barred Island, Maine; 2010; digital video; 12:00
Three video screens produce a triptych of Barred Island, Maine. At low tide, a land bridge connects the island to the mother island, Deer Isle. At high tide, the ocean overtakes the land bridge and the islands are separated. Though the ocean may conceal the connection between these two bodies, their inextricable link remains.  

A Highway Called 301; 2010; digital video; 54:00
U.S. Route 301, designated in 1932 as a spur of U.S. Route 1, runs from Sarasota, Florida northward through the Atlantic states and ends just beyond the Delaware Bridge.  Presently, one-thousand and ninety-nine miles of highway connect small towns, bisect otherwise rural landscapes, and provide a vital corridor for commerce and travel. 
A multitude of abandoned structures pepper the landscape and provide evidence of a cultural apparatus that extends both spatially (alongside the highway) and temporally (into past-present-future).  What can the fragmentary evidence of remaining structures, or archi-textures, tell us about the past-present-future cultures who occupy these spaces?  This audio-visual study seeks to answer this question, less in the form of visual-anthropology (ethnographic documentary) and more in the uncharted territory of visual-archaeology (science-non-fiction).

               
Ghost; 2010; 16mm; 3:00
If a ghost is an anomaly of light that takes on human form and the cinema is a machine capable of arranging light in highly organized patterns, then it seems apparitions appear so often in the space where celluloid and light collide that we take these images for granted. When these patterns of light take on human form a man is no longer made of flesh and blood but of machine and light.

Young Machine; 2010; 16mm; 3 min In the scope of human history, the cinema is a young machine. According to Hollis Frampton, it is also the last machine. It is the first machine capable of reanimating the dead. At 21 frames per second, it begins to breathe life into otherwise lifeless cells—the inner-workings of the machine imperceptible to the human eye. At 24 frames, “it’s alive!”

Workout Video (part 1); 2010; video; 5:00 Part one of an experimental trilogy of workout videos. This video is intended for beginners.

This is not a Pipe Bomb; 2010; digital video; 4:00 In the paranoiac landscape of the 21st century, when is a pipe something far more threatening, like a pipe bomb?

Warships; 2010; 16mm; 1:30; silent
World War Two battleships flicker and fade in the celluloid.

Beats per Minute; 2010; 16mm; 2:00; silent
A cameraless film that ignores the film frame. The result becomes twenty-four beats per minute.

White House; 2009; digital video; 8:00

Three compositions in a single shot investigate the people, politics, and space in front of the White House.

Dead Buffalo; 2009; digital video; 85:00

A neo-western chronicling the last days of Charlie Johnson’s life, Dead Buffalo follows Charlie and his son Dusty as they venture westward towards the Great Plains.  Under the influence of prescribed medications, and after reading Black Elk Speaks (an account of 19^th century Sioux culture), Charlie has a vision which tells him he must “see the buffalo and restore the sacred hoop.”

Road to Katahdin; 2008; Super 8mm; 10:00

This Super 8mm film is a personal study regarding Mount Katahdin, the highest peak in Maine, and its ever-changing relationship to humans over the past 10,000 years.

Fragments from an Endless War; 2008; 16mm; 6:30 Comprised entirely of 16mm found footage, Fragments examines American culture in an era that has been defined by a state of permanent economic and military warfare.

America in Pictures; 2007; 16mm to video; 8:00 AIP examines American landscapes both real and imagined, using found footage, original 16mm cinematography and images produced using light exposure techniques without the aid of a camera.  “…A work of art in its own way; the images are intriguing, the concept is unique, and the original score is great…” (MicroFilmmaker Magazine, Issue 20 June, 2007)

Cracker Crazy: Invisible Histories of the Sunshine State; 2007; digital video; 92:00

Using archival materials and original Super 8 cinematography, Cracker examines Florida History from a decidedly different point of view.  “Koszulinski did his homework - he plundered state archives for vintage images and footage to mix with his own original footage... which traces the Sunshine State's history from the earliest inhabitants to the present day." (The Tallahassee Democrat, April 20, 2000)

Silent Voyeur; 2004; Super 16mm; 80:00.

Exploring memory and the manipulation of history, all from the perspective of our amnesiac protagonist, “‘Silent Voyeur’ is an experience and it’s one that’s not likely to be forgotten easily.” (Eric Campos, Film Threat)  “…The Story ultimately reaches out beyond this secluded cabin for a thought-provoking capper to this well-crafted indie psychodrama.” (Underground Oddities, Shock Cinema, #33)

Blood of the Beast; 2003; digital video; 70:00

Combining archival footage within the structure of a conventional narrative, BOTB creates a future dystopia where mankind is doomed to extinction.  “…delivers an aesthetic juggernaut.  Koszulinski is a major talent to watch…” (Cultcuts Magazine) 

Desinformatsia; 2002; digital video; 45:00

In 1966, Saul Lennewitz believed he was receiving long wave radio frequencies from extraterrestrial intelligence.  His evidence was destroyed by the U.S. Government. The film chronicles Lennewitz’s subsequent descent into madness.