ACID DREAM EXPERIMENTAL VIDEO ART FILM DIARY BY BIRTHDAY GURL : September 2021

ACID JUNK FILM DIARY

FAKE MOCKUMENTARY An Anti-Art Art- JUNK FILM AESTHETIC

Social theory can preoccupy the anti art art film aesthetic by describing the junk film’s role upon intellectualizing the junk film aesthetic literature according to the junk film manifesto (see junk film manifesto). When comparing the heterogeneous nature of the returning video it is now a junk film synthesis of non convention.

Among the counterfeit film street culture the departure from junk film contains its anti art art film pseudo structure with a minimal deconstruction of fake documentary leaving an open ended unspecific number of alternatives to becoming the unfinished product that is the fake mockumentary and anti art art film. Parallel to such unlimiting boundaries that of its observational film structure, by becoming a hybrid of stylized documentary and video art it is thus fake mockumentary we see unfolding in the unintentional performance of sustainment of actions by documenting the body endurance all in one take (see fake mockumentary manifesto)

The fake mockumentary manifesto is labeled by a series of obstructions that must attempt to be broken at some point to remain a fake attempt to fake something that's fake to fake what's fake to disguise the truth of reality using real street super stars who are the fake actors being themselves to fakely act their way through a discovery of mock performance with body endurance by blurring theater acting and performance art into the development of the the fake mockumentary manifesto. movie making absent of the script but not without the d guard portal of the mockumentary deconstruction as the attempt to create a legacy to a new film genre like the fake mocumentary, anti art art film also known as another form of after-neo-dada film expression as well as the Acid Pop Film (read acid dream experimental video art film manifesto). Subsequently a social and cultural disruption of reform is demonstrated for such anti art art film based works maintaining a pretense of reality with improvisation or pantomime presented many times as silent films opposed to institutionalized film that follows a script.

On the one hand, it is more directly inscribed blurring the lines of these circuits of film genre with the new punk cinema movement connecting experimental film and anti art art film by the communication of visual poetry as a the avant garde film volta of abstract expressionism action painting the moving painting with media based artistic tools with which ever ideology does this anti art art form explanation for another cinematic form of representations apart from plot or story from commercial movie conventions. Named in the junk film aesthetic are such as instructional video and computer screen recordings, both stylized documentray.

Neo punk cinema innovations reveal the close and conflictual contemporary exploitation of such film trends among riot Gurl and punk feminism depicting interpretation to be compartmentalized but too new for film genre during the boom era of Pink 8 style guerrilla film manifestos according to its digital and analogue film artifact type.(see pink 8 manifesto) That of unhealthy aims to continge film structure without film form by not settling for continuity. Anti art art film references the junk film aesthetic in particular accordance to the Pink 8 manifesto maintaining the feature film objective,rejection of green screen and inclusion of filming with camera phones and toys.

Outside the fake mockumentary manifesto that is also a Pink 8 style, it exists as a justification for film genre not to be taken over by mockumentary the way fake documentary has taken over the deconstruction of the minimal mockumentary selection.

FAKE MOCKUMENTARY MANIFESTO

1.A fake mockumentary film is a dream

2.A fake mockumentary film is often a no budget film

3.A fake mockumentary film encourages a broken narrative or non-narrative film (no plot)

4.A fake mockumentary film often has a Lo-fi Aesthetic

5 The fakes whats fake

6.Short films are encouraged and acting/performance without dialogue is frequent

7.Usually informal screenplays are not learned in their entirety or not needed at all to maintain a pretense of reality, improvisation is typical

8.A mock document is suggested to prepare your fake mockumentary

9.Unborn stereotypes or "outsiders" are encouraged to be the protagonists and archetypal figures that replace the actors who then perform as the fake actors (street super stars)

10.Mock Documentaries rarely have laugh tracks, therefore, a fake mockumentary should encourage a fake studio audience applause, laugh track, or experimental sound effects (noise or industrial music)

11.Fake mockumentaries are thought as deconstructed mockumentary films of stylized documentary and video art like experimental hybrid film

12.A fake mockumentary is usually “associated” with criminal acts

13.A Fake mockumentary is typically a Guerrilla film

14.Typically the persons in your film are pre-occupied with Mock performance (a blurring of the lines between performance art and acting by maintaining a pretense of reality) at times body endurance

15.When producing a fake mockumentary, you must break two obstructions stated in this manifesto before it can be considered a fake mockumentary

MOCK DOCUMENT

ACID JUNK FILM POETRY

THE JESUS MONSTER

DIRECTOR'S FULL COMMENTARY

Fake Mockumentary JUNK FILM POETRY
JESUS PRACTICE A FAKE MOCKUMENTARY FILM BLURRING STYLIZED DOCUMENTARY AND VIDEO ART dir:BY BIRTHDAY GURL VIDEO ARTIST
May 17th 2015 Sunday 10:17AM
San Antonio, TX United States
dear acid junk film diary
Here mistakes are perfect and beautiful and beauty is found within the ugliness and koas of junk film aesthetics, the dada evolution of junk aesthetics found in film across the qoutendatent subjects coated without traditional story telling. The DIY junk film street culture that compiles punk cinema AMONG the PINK 8 styleS of film genre KNOWN as junk film and its aesthetic coined by Birthday Gurl (Laura Grace Robles) writer director and video artist in her Junk Film and fake Mockumentary film making manifestos. Birthday Gurl, directing various films such as Jesus Practice , Nigga Booty Nights and Foxy Balls Donkey Sugar among others. Jesus Practice a

silent 42 min guerrilla film
and obstructed by a fake mockumentary manifesto. A fake character played by a real actor performing mock performance by blurring the lines among real acting and performance art. Jesus Lee Lane Mc Berrnin Mc Bee the protagonist is played by Sam Mandelbaum the actor who gender role plays a cross dresser named after the jewish son of god on a divine archetypal reference of christian symbolism. Jesus traveling on a quest for identity the blessed is the reborn jesus lee lane mc bernnin mc
b bisexual christ
unscripted
from one cue to the next each object allowed sam to improvise a sequence of actions where his

performance of sustainment was actions testing the body’s endurance as a performance artist. During the nude performance in public space the actor nominates the vicious fittings of fixed pork props out of rotten bananas, a bottle of pills, and counterfeit cash. A recess by which the challenge of the film making process was diagnosed by the continuous rolling of the camera on the set a mandatory factor of the film making process and no interruptions or cuts just one take would determine the entire film. while sam had no idea he would become the mentally ill the highly concerned androgynous young who was
actually the artist in the film.

the anti-thesis of rejected
autonomy as the solace christ
sister child and ego desperate would be seeking its altered realty of the fake the real and the unreal which realistically cannot be portrayed by a real actors lack of dialogue but without preparation to confront an imaginary lonesome as the socially alienated curious bi-
sexual.
Sam Mandelbaum the actor confronts his subconscious with gender role playing the super romantic Disappearance of the male porn star who played Jesus
Lee Lane Mc Berrnin Mc Bee.
Jesus stayed
tucked away in
rundown suburbia chain smoking

as domesticatedly as a perfect
nude
sensuality of odd sex drama outside in his front yard could by calling him to wander an encapsulated time
jesus imagines he can synthesize-the male and female image when in actuality he explores transgender symptoms of having no gender as a fruitarian in a parallel reality between the time among the future repletion among the past and the essence of the present time in what is as nostalgic as the now that dictates
a dream state of vividness.
possibilities wonderfully existing among the cocktails of societal

boundaries jesus fails to accept his mothers prized refried funkshway thinking with the mind of his own real self nutted one eyed woman experimenting with grannies moth ball rented wigs and vintage dress.
Jesus Practice questions revolving conversations between christian rebellion to find the misunderstandings of biblical text and biblical text that is confronted by self worth measured by either
homosexuality or family values
Jesus socially declines his lost self from social anxiety keeping busy with bare lesbian irrational
OCD tactics brushing his teeth in

bed in machismo chin and butt cheek day dreaming routine starring at himself gazing into the mirror holding broken glass to help the ripping through the zipper of his torn grandmothers
dress
big foot peels one out inside a banana and off jewish hands Jesus wraps reynolds around his body the canvas, a paint brush goes missing for egg nog doodle doodle cock to attention that any cook will smoke crack if you lived naked everyday of your life like the jewish son of god an almighty excuse for Jesus cursed with the
name of christ

the melody a one eyed female scarecrow playing couldn't actually play the electric guitar for
Jesus outdoors so
easily jesus looses time reacting randomly to his disorganized cell count but he is not so distracted that the vaccine for becoming a famous porn star doesn't advance his naked ass crack habit for female scare crow dolls was stroking his meat in poured pink paint covering his entire body by unmet sexual desires
within the nonnative story.
the secret voices into the open ends of the music is unflinching and illiquid in an avant grade playing of the organ with filters

and effects used to manipulate
the lo fi mood
the jewish son of god mc b lee lee lane jesus mic b mic b recalls strumming to help his one eyed bride to be in a day dream of distortion to his percussion which serenades the female scare crow using a twig and fraud
ringlet to play the drums outside
Just before Jesus detaches his last wet spun wet Micky b mc b little lee chomps a spit lane to rain on her bookay over millions of galaxies of spitting foam fractions helping himself to a velvet goldmine across the face spray painted with premium poe
boy open cake

jesus discos his penmanship to amuse a blind K9 bent over again for a tree part to fit an undeviating trash object for drum sticks to satisfy the almost
impossible
on the pink leaking bismol paint spills over a water base of pink hue and a dark interior where masturbation that continues to the action in order to perform not orgasm leaves BBQ JESUS without
BBQ
like a mechanical walking robot boy the Christ son of god is hallucinating away from whatever his very own christian
mother cursed him with by
naming him Jesus
Christmas starlights holding freshly painted genitals and a one eyed Jesus monster dragging along the crack of his wheels celebrating his long awaited one eye separation from nutted
naggers as a gay experiment.

 

FOXY

DON'T KEEP STARING OR FOXY WILL POOP CORN ROBOTS AT NITE ON YO CRACK POP poping corn robots at nite in paint!

A deconstructed film with thought provoking questions like “What new drug is she on?And is this art film?

Fast in a blurry self-awakening, debauchery in cyber space where extraterrestrial hypnosis is convincing her that Foxy is her fake Internet existence.

In this reoccurring dream webcams surround her alienated life. In her dressing room, personal steam room, and at her local grocery store.... Hidden video callers follow her from the unknown.

...IN A HYPNOTIC TRANS

Suddenly

Three main objectives are her only alternative to address this webcam addiction for survival(1) Chain-smoking, (2) two-way mirror gazing(3) Video moaning.

WITH THE OMNI-PRESENSE of technology in human life and of its possible dangers: as psychical alienation and losing our freedom through digitalization and letting the technology overmaster us it’s necessary to "humanize" technology in an anthropological way and to overcome it by not rejecting this fake mockumentary junk film.

This, questionable two-way rendezvous happening on the camera’s other cyber side is a surreal webcam addict’s abduction by extraterestrial hypnosis.

In the dream state

FOXY's subconscious records her video calls to later play back a cyber fantasy of tantalizing behaviors that haunt her just as much as an e-rotten banana.

Foxy the Night Rocker is chased by a nightmare of paranoia built up by her delusions of grandeur where living a life preoccupied by insanity from staring back at herself into a two -way mirror at all hours is keeping her busy video moaning.

The treatment includes one major phase: (1) An online conversion of the video moans streaming into the databases of auditory noise experiments to objectify her video callers request of night time activities using a plastic toy Tiara, a pack of smokes, and lipstick.

This fake mockumentary junk film shows the video artist improvising an unintended act of body endurance where she maintains a pretense of reality. In a dance of chatty,pantomime and head drama that displays mock performance it is blurring the lines between performance art and acting to break free from narrative.

Foxy is a serial of sixteen different short fake mockumentary films that Robles begun filming in 2010 and completed in 2014-2015. It is with these sixteen different Foxy films did she discover why everything she thought her camera was recording seemed to be faking whats fake, by seeming to believe everything was a fake documentary. When in actuality it was an illusion Robles had become obsessed with hoping everything she had filmed was fake documentary but in actuality the only explanation was fake Mockumentary

Interview with the VIDEO ARTIST

Dexter Mock Duck: Ms. Robles explain to us how you have unearthed fake mockumentary inspired by Fabrizios pink 8 film manifesto?

Laura Grace Robles: :A similar philosophy is shared in both his and my Pink 8 film manifestos. Both paying respect to the DIY punk mentality to anarchistic views so that Pink 8 cannot be learned in film school particularly for those film makers lacking resources with a drive to become film makers even if they don’t have a camera as i once did not. Like the Pink 8 ideology and its regards to perfection, when film mistakes are allowed there is no other perfection to me. To make video art part of the experimental film hybrid that allows my films to to be possessed by an aim to fail by making films that break boundaries the way Fabrizio and I understand continuity is wrong.

Dexter Mock Duck: Who is your competition?

Laura Grace Robles: At the heart of punk cinema anarchistic ways I don’t compete to make films better than one or the other. They are just different, I don’t make films to compete with other critics besides my own judgement, so i guess i compete with myself. Because punk is free from the unfortunate souls who believe there is no hope for understanding life as the individual who thinks apart from the normality of expectation and predictability to think this way humbles my imagination and that allows me to work and think with less tricks and more sincerity.

Dexter Mock Duck: How has your style evolved?

Laura Grace Robles: Only a street super star could elevate the hope for an uneducated commoner to be one capable of blurring the lines between acting and performance art as a mock performer like the fake actors in some of my films but that now also specifies under feature film making not just short films as i was used to making. Now an opportunity that could be explored faithfully though commitment may fullfill either the Pink 8 style by facing a new manifesto only in the same represented junk film aesthetic in a body of epic films.

Dexter Mock Duck:How are you confronted by film language?

IM NOT CONTRONTED BY ANYTHING I JUST KNOW I MUST CREATE THE FILM PARADOX

Dexter Mock Duck: What is a fake mockumentary to you in one word?

Laura Grace Robles:A fake mockumentary is a dream.

FOXY NIGHT ROCKER

This, make believe two-way rendezvous happening on the camera’s other side is a surreal webcam addiction debauchery of hypnosis in the demon’s hour dream state.

From FOXY's subconscious memory her video diary archive replays a cyber fantasy of tantalizing behaviors that haunt her just as much as rotten bananas making the archive and her prince charming invisible.

The Night Rocker is chased by a nightmare of paranoia built up by her delusions of grandeur where living a life preoccupied by insanity from staring back at herself in a two -way mirror at all hours from dusk up until just before dawn is just not a good enough reason to keep her a quiet noise video moaner.

This curing process includes one major phase: (1) An online conversion of the video diary streaming of the noise moans into databases of auditory experiments including the objects video callers request that day such as a plastic toy Tierra, smokes, and lipstick.

This thirty eight minuet and two second junk film shows an intuitive approach the video artist takes to improvising unintentional body endurance or time a body’s unpredictable actions that sustain otherwise as the performer of art and actor exceeding one’s unintended body limits in a dance of silenced chatty head drama displays mock performance by smearing the lines between performance art and acting breaks the artist free from narrative.

FOXY RACE CALL ON ALCOHOL