‘Ghost Story’ told in thrilling way
GHOST from Page 9
scenes with the various warriors and
ghosts are fantastic.
To top it all off, Ching Siu-Tung,
the director, has a wonderful vision.
The colors are vivid, yet soft. Ching
has a great eye for flowing fabric. His
ghosts are swathed in wonderful silks
that stream behind them as they fly,
and even the mortals are granted some
of these floating materials.
The movie has a delightful ro
mance between the mortal and the
ghost.
There is a slight problem with the
translation of the subtitles. One char
acter explodes, “Dame you,” while
Ning is sent off to the “spokey”
woods. During one section near the
end, the translation is intelligible, but
almost as funny as the movie.
However, this is minor. The ac
tions and situations transcend any
cultural barrier. This ghost story is
told in a scary, funny, thrilling way.
If you’ve never been to the Shel
don Film Theater in your lilc and you
never planned to go, at least go and
see “A Chinese Ghost Story.”
You won’t regret it.
“A Chinese Ghost Story” is play
ing today at 1 and 9 p.m., Thursday at
9 p.m., Friday at 3 p.m. and Saturday
at 1 and 7 p.m.
Admission is the best $4 you’ve
ever spen ton a movie, or S3 for senior
citizens, children and Friends of the
Sheldon Film Festival.
*1
Sheldon shows works
by Midwestern artists
MIDWEST from Page 9
“Wc may gel the news of what's
happening on the East or West Coast
as soon as anyone cl sc out there docs,”
Freeman said. “But we have a certain
kind of filtration lime, and 1 think that
steeps the work in a certain kind of
maturity, a certain kind of Icvcl-hcad
edness. So maybe that’s a Midwest
ern characteristic. I’d like to think
so.” Spence said he hopes there is
something characteristic about Mid
western art, but Rosser said the sensi
bilities arc universal. Rosser is origi
nally from Wales and studied in the
United Kingdom, and he said that
“Midwestern” is only a geographic
distinction.
“As opposed to New York or the
East Coast, the Midwest offers the
ability to expand,” Rosser said. “That
is, you don’t Iccl confined by the
constraints of a gallery. Maybe it’s
because there’s not the sort of rich
source of exposure that one might get
in New York. One has to nourish
one’s self, one has to build up things
to feed one, and what I find exciting
about the Midwest is I can expand my
work. I don’t have to worry about
making everything lit into one cate
gory ”
“l really think that Nebraska, the
Midwest, is virgin territory for art
ists,” Spence said. “There are so few
artists, filmmakers, photographers
here trying to make it work for them,
that it’s very refreshing."
“I think that if there’s any, I
wouldn’t call it a theme,” Ncubert
said. “If there’s anything that lies the
work together it’s (the) kind of hand
built quality of all the work, as varied
as it is. They didn’t send it out to be
manufactured or produced off blue
prints or drawings by some artist in
New York or California, and the art
ists hands in the process show.
Whether that’s uniquely Midwestern
or whether that’s a part of the art
world today, that’s difficult to say. I
think it’s a little of both.”
“Midwestern Visions” is only an
exhibition to give the artists expo
sure, but some of the artists do sell
their works. Spence said he does not,
generating his income from the film
and video projects and photography
he produces. But Rosser and Freeman
both said they sell some of their work.
Of the artists, only Rosser named a
specific other artist whose work he
liked best, mentioning Sue Eiislcr, hut
all said they liked the whole show.
“I don’t want to say anything spe
cific except that I’m really impressed
with the show,” Rosser said. “I think
it covers a broad range of ideas and
concerns. Some of it is very concep
tual and some of it is intellectually
stimulating in a humorous sense.
Some of it is much more rigorous,
although there is a reasonable light
heartedness to all of it, and I’m just
really pleased to be in it. I think it was
an exceptionally well-curated show.”
Ncubert said he is glad that all the
artists have been getting along so
well.
“Artists a lot of limes, who create
work alone in the studio, in what 1 cal I
a ‘hot house’ environment, without
the kind of competition or involve
ment in the real world, sometimes are
over-sensitive to exhibitions, group
exhibitions, like ‘why would you put
me in this show?’ and sometimes
resent what they’re next to, or who
they’re next to ...,” Ncubert said.
“Interestingly enough, every artist
that has been here, that has seen the
show, has been complimentary and
positive of the quality of the show, of
the content and the idea, and are very
pleased that they have been a part of
it,” he added. “That is rare, and so
that’s been heartening from my point
of view, who curated it.”
All three artists said they would
give basically the same advice to
beg i n n i n g art i sis—do not fol low fad s
and the most important thing to know
is one’s self.
“You have to get into your own
thought patterns and processes; you
got to know who you arc and you got
to know how to register it on paper, on
canvas, on stone, metal, whatever
you’re going to use,” Freeman said.
“And so work a lot. Don’t assume you
can do it tomorrow, do it now. And
when you’re working, gel everyone
else away from you and spend time by
yourself. You got to gel used to being
alone, and it’s hard to do, but you need
to do that. So, a lot of work and a lot
of discipline.’’
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