Very Low Impact. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Maria-Dean Chumm, Pam Heath, Soma Richardson-Levy-O’Byrne; 35 mm.; 30 minutes; color; sound. A narcoleptic aerobics instructor (Chumm) struggles to hide her condition from students and employers. POSTHUMOUS RELEASE Y.W.-Q.M.D.; INTERLACE TELENT CARTRIDGE * 357-97-29
The Night Wears a Sombrero. Year of the Tucks Medicated Pad (?). Ken N. Johnson, Phillip T. Smothergill, Dianne Saltoone, ‘Madame Psychosis’; 78 mm.; 105 minutes; color; silent/sound. Parody/homage to Lang’s Rancho Notorious, a nearsighted apprentice cowpoke (Smothergill), swearing vengeance for a gunslinger’s (Johnson’s) rape of what he (the cowpoke) mistakenly believes is the motherly brothel-owner (Saltoone) he (the cowpoke) is secretly in love with, loses the trail of the gunslinger after misreading a road sign and is drawn to a sinister Mexican ranch where Oedipally aggrieved gunslingers are ritually blinded by a mysterious veiled nun (‘Psychosis’). Listed by some archivists as completed the preceding year, Y.W. INTERLACE TELENT CARTRIDGE #357-56-51
Accomplice! Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cos-grove Watt, Stokely ‘Dark Star’ McNair; 16 mm.; 26 minutes; color; sound. An aging pederast mutilates himself out of love for a strangely tattooed street hustler. INTERLACE TELENT CARTRIDGE # 357-10-10 withdrawn from dissemination after Cartridge Scene reviewers called Accomplice! ‘… the stupidest, nastiest, least subtle and worst-edited product of a pretentious and wretchedly uneven career.’ NOW UNRELEASED
Entitled. Unfinished. UNRELEASED Untitled. Unfinished. UNRELEASED Untitled. Unfinished. UNRELEASED
Dial C for Concupiscence. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Soma Richardson-Levy-O’Byrne, Maria-Dean Chumm, Ibn-Said Chawaf, Yves Fran-coeur; 35 mm.; 122 minutes; black and white; silent w/ subtitles. Parodic noir-style tribute to Bresson’s Les Anges du Peché, a cellular phone operator (Richardson-Levy-O’Byrne), mistaken by a Québecois terrorist (Francoeur) for another cellular phone operator (Chumm) the FLQ had mistakenly tried to assassinate, mistakes his mistaken attempts to apologize as attempts to assassinate her (Richardson-Levy-O’Byrne) and flees to a bizarre Islamic religious community whose members communicate with each other by means of semaphore flags, where she falls in love with an armless Near Eastern medical attache (Chawaf). RELEASED IN INTERLACE TELENT’S ‘HOWLS FROM THE MARGIN’ UNDERGROUND FILM SERIES — MARCH/ Y.T.-S.D.B. — AND INTERLACE TELENT CARTRIDGE #357-75-43
Insubstantial Country. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Cosgrove Watt; 16 mm.; 30 minutes; black and white; silent/sound. An unpopular après-garde filmmaker (Watt) either suffers a temporal lobe seizure and becomes mute or else is the victim of everyone else’s delusion that his (Watt’s) temporal lobe seizure has left him mute. PRIVATE CARTRIDGE RELEASE BY POOR YORICK ENTERTAINMENT UNLIMITED
It Was a Great Marvel That He Was in the Father Without Knowing Him. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Phillip T. Smothergill;
16 mm.; 5 minutes; black and white; silent/ sound. A father (Watt), suffering from the delusion that his etymologically precocious son (Smothergill) is pretending to be mute, poses as a ‘professional conversationalist’ in order to draw the boy out. RELEASED IN INTERLACE TELENT’S ‘HOWLS FROM THE MARGIN’ UNDERGROUND FILM SERIES — MARCH/ Y.T.-S.D.B — AND INTERLACE TELENT CARTRIDGE #357-75-50
Cage IV— Web. Unfinished. UNRELEASED Cage V–Infinite Jim. Unfinished. UNRELEASED Death and the Single Girl. Unfinished. UNRELEASED.
The Film Adaptation of Peter Weiss’s ‘The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum at Charenton Under the Direction of the Marquis de Sade.’Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. James O. Incan-denza, Disney Leith, Urquhart Ogilvie, Jr., Jane Ann Prickett, Herbert G. Birch, ‘Madame Psychosis,’ Maria-Dean Chumm, Marlon Bain, Pam Heath, Soma Richardson-Levy-O’Byrne-Chawaf, Ken N. Johnson, Dianne Saltoone; Super-8 mm.; 88 minutes; black and white; silent/ sound. Fictional ‘interactive documentary’ on Boston stage production of Weiss’s 20th-century play within play, in which the documentary’s chemically impaired director (Incandenza) repeatedly interrupts the inmates’ dumbshow-capering and Marat and Sade’s dialogues to discourse incoherently on the implications of Brando’s Method Acting and Artaud’s Theatre of Cruelty for North American filmed entertainment, irritating the actor who plays Marat (Leith) to such an extent that he has a cerebral hemorrhage and collapses onstage well before Marat’s scripted death, whereupon the play’s nearsighted director (Ogilvie), mistaking the actor who plays Sade (Johnson) for Incandenza, throws Sade into Marat’s medicinal bath and throttles him to death, whereupon the extra-dramatic figure of Death (‘Psychosis’) descends deus ex machina to bear Marat (Leith) and Sade (Johnson) away, while Incandenza becomes ill all over the theater audience’s first row. 8 MM. SYNC-PROJECTION CELLULOID. UNRELEASED DUE TO LITIGATION, HOSPITALIZATION
Too Much Fun. Unfinished. UNRELEASED
The Unfortunate Case of Me. Unfinished. UNRELEASED
Sorry All Over the Place. Unfinished. UNRELEASED
Infinite Jest (Vï). Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. ‘Madame Psychosis’; no other definitive data. Thorny problem for archivists. Incandenza’s last film, Incandenza’s death occurring during its post-production. Most archival authorities list as unfinished, unseen. Some list as completion of Infinite Jest (IV), for which Incandenza also used ‘Psychosis,’ thus list the film under Incandenza’s output for Y.T.M.P. Though no scholarly synopsis or report of viewing exists, two short essays in different issues of Cartridge Quarterly East refer to the film as ‘extraordinary’d and ‘far and away [James O. Incandenza’s] most entertaining and compelling work.’e West Coast archivists list the film’s gauge as ‘16 … 78 … n mm.,’ basing the gauge on critical allusionsf to ‘radical experiments in viewers’ optical perspective and context’ as IJ(Vì)’s distinctive feature. Though Canadian archivist Tête-Bêche lists the film as completed and privately distributed by P.Y.E.U. through posthumous provisions in the filmmaker’s will, all other comprehensive filmographies have the film either unfinished or UNRELEASED, its Master cartridge either destroyed or vaulted sui testator.
d. E. Duquette, ‘Beholden to Vision: Optics and Desire in Four Après Garde Films,’ Cartridge Quarterly East, vol. 4 no. 2, Y.W.-Q.M.D., pp. 35–39.
e. Anonymous, ‘Seeing v. Believing,’ Cartridge Quarterly East, vol. 4 no. 4, Y.W.-Q.M.D., pp. 93–95.
f. Ibid.
[25] More like July-October, actually.
[26] Synthetically enhanced enkephalin, an opiate-like pentapeptide or so-called endor-phin manufactured in the human spine, one of the compounds prominently involved in the infamous ‘CadaverGate’ scandal that brought down so many funeral directors in the Year of the Perdue Wonderchicken.