PXL THIS 22, the 22nd annual toy camera film festival featuring Pixelvision films made with the Fisher-Price PXL-2000 camcorder, premieres MONDAY, Dec 10, 2012 in Santa Monica, California. PXL THIS, the second oldest film festival in LA, celebrates visionary moving image artists from seminal experimental filmmakers to 10-years-olds to homeless to professionals. PXL THIS is international with entries from France, Canada and across the US.

for immediate release
contact: Gerry Fialka 310-306-7330  pfsuzy@aol.com https://www.laughtears.com/

PXL THIS 22, the 22nd annual toy camera film festival, screens Mon, Dec 10 at 7 & 9pm (two different shows, with 6pm preshow: sneak preview of Michael Koshkin's work-in-progress 43 minute documentary Pixel Visions) at Unurban, 3301 Pico Blvd, Santa Monica CA 90401, 310-315-0056, free admission 

PXL THIS sites: http://pxl2000.blogspot.com/ and http://sites.google.com/site/pxlthis/ and http://www.youtube.com/user/pxlthis

PXL THIS 22 highlights:

L.M. Sabo's DARKEST CHILD was shot on location at Queen Califia's Magical Circle, the last major international project by acclaimed French sculptor Niki de Saint Phalle. The fanciful sculpture garden hosts a disturbed child's nightmare. Press ready stills:
http://www.flickr.com/photos/88995969@N03/8110676496/sizes/z/in/photostream/ &
http://www.flickr.com/photos/88995969@N03/8110680305/sizes/z/in/photostream/ &
http://www.flickr.com/photos/88995969@N03/8110691248/sizes/z/in/photostream/ &

From the creator of DONUT MEMORIAL (one of the past PXL THIS hits), comes THE EXORSITE,  nine year old filmmaker Chester Burnett's witty reinvention of demon possession. Chester's THE MAKING OF THE EXORSITE and THE MAKING OF THE EXORSITE PART TWO are both riots of fun, too. Two too !

Sunny War's EVERY DAY EVERY NIGHT sings the thrills of personal relationships.

Ellen Levy & Nick Porcaro's UNDAGROUND BEACH documents New York's virtual graffiti through sun-dappled avant jazz organ.

L.A. poet/spoken word artist Rich Ferguson's A DEDICATION sends a shout out to everyone from the dog walkers, street walkers, freedom riders, freedom marchers, and to all the hard-luck insomniacs whose mattresses are filled with a month of Mondays.

Marc Bascougnano's  (L'Enregistreur) KERMOR, shot in Finistere, south Britany, France, beautifully observes a house on the sea shore.

Clint Enns' GLEEM is a re-make of a lost James Benning film of the same name. A sex negative film about maintaining those pearly whites."I wasn't entirely convinced I was straight until I saw this film." - Guy Maddin. BE ADVISED- EXPLICIT MATERIAL. View it: https://vimeo.com/47569614 Press ready still: http://clintenns.tumblr.com/image/34842518073

Lionel Flash articulates privileged insight into the state of the Western Hemisphere in EXODUS.


Funny Philip Marion's SPOON & PACKET: RHINOCEROS delivers laughs and music.

Clifford Novey & Gerry Fialka's I THINK I'M IN SOMETHING - if you can't say it, sing it, and if you can't sing it, dance it.

Pixelvision avatars Lisa Marr and Paolo Davanzo's COPY THAT doubles the insights.

Venice's own greatest cinematographer Christopher Gallo's VENICE BEAT POET PAUL BROOKS: BUKOWSKI documents an old school poet's tribute to Chuck in his apartment in the Ellison, where he shared conversations with fellow poets John Thomas and Philomene Long. http://www.gallodp.com/

Peter Thottam STILL FIGHTING FOR YOU articulates political history and socially conscious goals.

Will Erokan's COURTROOM COCKROACH slams the inner eye's insectual viewpoint.

"Occasional" Bill Chowchilla's SEARCHING FOR GOOGLEMAN serves no earthly purpose.

Clifford Novey & Gerry Fialka's I THINK I'M IN SOMETHING - if you can't say it, sing it, and if you can't sing it, dance it.

In PXL innovator Doug Ing's LOVE, the Loor children and Sr. Citizen Phil share their emotional views

Nick Newlin's touching SUNSHINE DAYDREAM combines the Grateful Dead's influence and juggling to review a life story.

Clifford Novey's TAPESTRY WALL renders the abstract real.

Former Second City Music Director and comedian Jonathan Menchin's THE DREAM reconsiders fantasy.

In ME, BOON & HENRY, Venice Boardwalk performer and former limo driver Joe Nucci does another poignant recollection: Henry Rollins remembers a lesson from the Minutemen's D. Boon.

In Denny Moynahan's (aka KING KUKULELE) live interactive PXL entitled DUALITY DEN houses musical doubleness questioning the human condition.

Ruby Carter's COLDFUSIONNOW.ORG surveys the services of cold fusion.

Brown Cuts Neighbors' CHURCH THE GUMBY is wow cool Pixelvisiony.

Steven Cerio's MOON WETS NUMB defies foggy richness.

Historian Eric Dugdale's BEACH BONES probes what the locals say as the sun sets.

Award winning filmmaker Terri Sarris' FIRST NIECE looks back on childhood innocence.

Paulie Dee's JUST A TRINKET intimately reminisces on his encounter with Liz Taylor and her jewelry.

Poet Arthur Coleman's ABSOLUTE UNISON ... an idea decided ... caged bars ... the ocean changes faces.

Julien Mangogna's LIKE A WOLF strums the light fantastic.

Geoff Seelinger & Gerry Fialka's ARTURO READS VENICE find a local author reading his new work amongst the people.
Geoff Seelinger's WASHINGTON VS. LINCOLN - Juxtapositions, collisions, rhythms and happenings on the corner of Washington and Lincoln. It's a notorious corner for extended waits, accidents and human activities.

Donovan Seelinger's WATER-LOO - Traversing Venice beach on sandy wheels and looking at motion and people in action on wheels. Motion and time are twisted, slowed and reversed toward comprehending a 4th dimension.




Gerry FialkaGerry Fialka

PXL THIS celebrates its 22nd year of creative filmmaking by everyone from kids to professionals. One of the most unique film festivals ever, PXL THIS has been attended by Oliver Stone, Daryl Hannah, Kim Fowley among many more. Pixelvision has even made it onto the big screen via Richard Linklater (Slacker), Michael Almereyda (Nadja, produced by David Lynch) and Craig Baldwin (Sonic Outlaws). The irresistible irony of the PXL 2000 is that the camera's ease-of-use and affordability, which entirely democratizes movie-making, has inspired the creation of some of the most visionary, avant and luminous film of our time.

 "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly

PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language.  Past PXL THIS participants have included Lee Ranaldo (Sonic Youth), Chris Metzler (Fishbone & Salton Sea documentaries), James & Sadie Benning, Joe Gibbons, Cecilia Dougherty, Peggy Ahwesh, Jesse Drew, Margie Strosser, Cory McAbee (The Billy Nayer Show) and Michael Almereyda.

"Gerry Fialka’s annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director 

"Gerry Fialka's PXL THIS festival snaps, crackles and pops off the screen with the funky, user-friendly energy of real first-person cinema. Goofy, gorgeous, and altogether groovy, his provocative program of pieces produced with the Fisher-Price PXL 2000 toy video camera is not only downright entertaining, but more, its blipping and buzzing black 'n' white picture-bits coalesce into a veritable inspiration to all those who cherish the playful, spontaneous gestures and low-cost of electronic folk art." - Craig Baldwin, director & curator. 

"All the PXL THIS videos reflect festival organizer Gerry Fialka's commitment to the freedom produced by making art without financial constraints. PXL THIS is a welcome highlight in the Los Angeles media scene celebrating the rich lexicon available in a tool which might initially seem rather limiting." - Holly Willis, LA Weekly. 

"Pixelvision may be firmly ensconced in the pantheon of once-popular dead media, but for many of the faithful it captures the heart of the American experience as it should be seen: in basic black and white." - David Cotner. LA Weekly 

"PXL is the ultimate people's video." - J. Hoberman, Premiere Magazine. 

Seminal film experimental filmmaker Hollis Frampton evokes PXL THIS in 1978 : "I didn't really like the work I thought was my best work. I liked the stuff I didn't like a  lot more." 

"When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS." - George Manupelli, founder of the Ann Arbor Film Festival, filmmaker, poet, collagist and political/environmental activist

Seminal film critic Pauline Kael evoked Pixelvision in her book Hooked: "I am still a child before a moving image."

Hollywood Reporter called Pixelvision a "precursor of today's DV filmmaking."

PXL THIS Director Fialka - hires 300 dpi still with PXL Cam - https://www.laughtears.com/images/Gerry-360dpi.jpg and Bio - https://www.laughtears.com/bio.html

PXL THIS 22 screens May 23 at http://www.echoparkfilmcenter.org/

PXL THIS 23 - Entry deadline Oct 22, 2013 - simply send a dvd to Gerry Fialka 2427 1/2 Glyndon Ave, Venice, CA 90291, 310-306-7330, pfsuzy@aol.com NO entry fee.

Program Notes for San Francisco Cinematheque's AN INVENTION WITHOUT A FUTURE -
PIXELVISION: ELECTRONIC FOLK ART. (comprehensive history of PXL THIS and Pixelvision)
Andrea Nina McCarthy's 2005 MIT thesis "Toying With Obsolescence: Pixelvision Filmmakers & The Fisher Price PXL 2000 Camera" is essential reading.http://webcache.googleusercontent.com/search?q=cache:pwHJLt5QPRkJ:cms.mit.edu/research/theses/AndreaMcCarty2005.pdf+pxl+2000+mit&cd=2&hl=en&ct=clnk&gl=us

Toy Stories by David Cotner LA Weekly 5-12-11 - 1987 was a fairly dull year for culture. Hardcore's fire dwindled and modern art faded into the background amidst the rise of EuroDisney, Pat Robertson for President and the founding of Aum Shinrikyo. Occasionally there were high points: the KLF, Final Fantasy and the issue of the Fisher-Price PXL2000. Meant to be a child's first video camera, it used cassettes as its recording medium, producing grainy, security-cam-quality images. The PXL THIS Film Festival enters its 20th year of life, with festival founder Gerry Fialka and PXL2000 filmmakers appearing tonight to screen their films. Featured in the fest: Wickstead's Wonder, a film about PXL2000 inventor James Wickstead; Arroyo Seco River Song, a tribute to the L.A. River tributary; 4-year-old Anwyn Lees' remake of The Wizard of Oz on her front porch with her dad and mom; Baltimore dada/experimentalist tENTATIVELY a cONVENIENCE's film Philosopher's Union Member's Mouthpiece; and Fialka's own Parallel Worlder, a cross between the dance of Martha Graham and the satire of W.C. Fields. Pixelvision may be firmly ensconced in the pantheon of once-popular dead media, but for many of the faithful it captures the heart of the American experience as it should be seen: in basic black and white.


Blur + Sharpen If it Works, It's Obsolete by Holly Willis  12-11-10
Gerry Fialka is LA's tireless advocate for alternative media and DIY culture generally, and the creative potential of the PXL 2000, a cheap, plastic toy video camera made by Fisher-Price in the 1980s, in particular. The camera produces a glitchy, chunky black-and-white image that's, well, often quite beautiful. For 20 years, the Venice-based media proponent has been showcasing videos made with the PXL 2000 camera in the PXL This video festival, which returns with a celebratory 20th annual showcase this Monday night, December 13, with two shows (7:00 p.m. and 9:00 p.m.) at the Unurban Coffeehouse at 3301 Pico Blvd, Santa Monica. I took the anniversary as an opportunity to ask Gerry a few questions, starting with what makes the PXL 2000 camera interesting in a world where we now have so many video camera options.

"McLuhan said, 'If it works, it's obsolete,'" says Gerry. "The PXL is remarkable because it does not work." Gerry is referring here to the fact that the camera does not even attempt to mimic reality; it's not interested in clarity, resolution or fidelity. Instead, the camera produces a glimpse of the world, one that underscores visual manipulation and dismisses attempts at perfection. "Giving the viewer less information might mean more involvement by the viewer," Gerry suggests. "It enables the possibility of 'breakdown as breakthrough.'" Considering the array of camera options, Gerry adds, "There's lots of video cams on the market that have some similar features, but none with the unique gothic dreamy look - there are lots of cool words that have described its services and disservices!"
Shooting with the PXL 2000 is also fun. It's nicely shaped, lightweight, and now, nearly 30 years after its birth, boasts a sleek retro look that the little Flip video camera will never have. Oddly enough, the camera records onto sound cassettes, and the image itself is framed with a black matte, giving the resulting footage an elegant look in contrast with the chaos of the imagery itself. When you use a PXL Vision camera, you really have to negotiate with the camera; the process is about discovery rather than capture. "We are really about McLuhan's adage, 'We shape our tools, then they shape us,'" adds Gerry. "That's the meta-cognition here." He goes on to suggest that often artists try to rekindle the visionary delight of children, and using a toy contributes to that sense of creativity and rule-breaking.
Gerry notes that technically he does not "curate" the festival. "I show every entry," he explains. "We welcome kids and homeless people and rich art kids and so on. We celebrate a tool, and we leave it to the audience and press to make aesthetic judgments." He adds that audience reactions definitely shift each year. "'Anything that's popular is a rear-view image,'" Gerry adds, again quoting Marshall McLuhan. "We are not a popular festival." That said, the show is an annual highlight for those seeking offbeat imagery and storytelling, and creativity that emerges in dialogue with imperfect and magical toy tools. More info: 310-306-7330. [Images taken from a PXL 2000 user's manual, available here.]


Toy-Camcorder Fest Focuses on Wild Imaginations by Hank Rosenfeld 12-14-10 Patch.com
http://patch.com/A-c7VP  and http://santamonica.patch.com/articles/toy-camcorder-fest-focuses-on-wild-imaginations
PXL This 20, held at the Unurban coffee house, raised a junked toy to artistic heights, howls and hilarity on Monday night.
This was not your father's film festival. More like your funny uncle's.
PXL This 20–the 20th installment of the annual fest curated and hosted by Gerry Fialka–featured nearly four dozen very short films at Unurban on Monday night. They were all shot with the same kind of camera: the PXL 2000, a toy camcorder that was created by Fisher-Price and then discontinued two years later. 
The market couldn't handle it back in 1987-89, but thanks to thrift stores, Web sites and family members, the camera–which sells for $40 to $60–is more popular than ever. Today, some experimental directors who dig the camera's funky, low-tech imagery have turned what was a failed toy into a cheapo art tool.
"The toy is much too important to be left [only] to children," Fialka said playfully Monday night–even though the fest included many films made by kids.
The first section of the festival featured pieces shot by children under 10 years old. "And They Played & They Played & They Played" was Gwyneth Seelinger's imaginative, sharply edited tour of her hobbies, while her older brother Donovan's "Shringly: Sci-ence" featured him explaining wormholes and time-travel.
"California Studios," a three-minute documentary, had Chester Burnett employing stuffed animals to give the history of a lost part of Hollywood history. Also featured during this segment: an eight-minute version of "The Wizard of Oz," where Anywn Lees' parents played all the parts, and the 4-year-old narrated and handled lensing chores.
"It's how we put our ideas down," 7-year-old Donovan Seelinger told the audience when asked why he used a PXL cam to explain his ideas about neutrons and space.
Can you say "inspired"?
Many of the PXL films have the grainy quality of Ingmar Bergman black-and-white starkness, or a ghostly bank-security cam.
"Marshall McLuhan said TV is tactile," Fialka explained. " 'Tactile' is exactly the chunky look the PXL 2000 illustrates. You can practically touch the roundness of the dots–all 2,000 of them."
A typical TV screen contains about 200,000 dots of light, or pixels.
"This is a magic toy," Fialka continued. "It's a utensil for creativity that reeks of humanity while Hollywood seems to believe only in spectacle."
PXL This 20 highlights included L M Sabo's "Oil Kills," Clifford Novey's "Rounds," Philip Marion's "Spoon & Packet" and Jonathan Menchin's "Hey You in the Future." Also featured were short musical delights by Brad Kay, Suzy Williams and Denny "King Kukulele" Moynahan; and the "Arroyo Seco River Song" by Nicole and Michael Possert.
Next year, the best of the fest, which included films from across the country and Europe, will play other venues, among them the Echo Park Film Center on May 19. Meanwhile, the entry deadline for PXL This 21 is Oct. 22; submissions can be sent in DVD form to Fialka (310-306-7330, pfsuzy@aol.com) at 2427 1/2 Glyndon Ave., Venice, CA 90291.
Fialka's own entry, "Parallel Worlder," was a culture-jamming mix of Georges Méliès' 1902 film "A Trip to the Moon" and local imagery. His philosophy behind the festival and his other entertainments?
"Think," he said, quoting musician George Clinton. "It ain't illegal yet." https://www.laughtears.com/


Introducing Gerry Fialka's PXL THIS 20 Film Festival by Joseph Mael 11-30-10
"Curator Gerry Fialka puts together events of films both experimental and socially conscious." - LA City Beat
Maybe certain happenings are meant to be kept discreet but then again there is always that “A-HA!” moment when circumstances lend to the belief that a certain happening is going to blow up. For the PXL THIS Film Festival, it hasn't happened yet. Or maybe it has. Creator of L.A.'s 2nd longest running film festival, Gerry Fialka, brings PXL THIS 20 to life to continue the underground legacy of the revolutionary PXL 2000 video camcorder on December 13th, 2010 at Unurban Cafe in Santa Monica. Produced by Fisher Price (there were 400,000 units released for sale from 1987 to 1989), this “toy” renders a unique video image and now has a legendary history that has firmly left a fingerprint on the history of film-making. The camera produces an image from 2,000 “dots” that is in contrast with modern film technology, particularly when held up to the 150,000+ dots on today's televison, the PXL 2000 elicits a unique image directors enjoy incorporating with heavy duty film machinery.
I had the opportunity to ask Gerry about this year's PXL THIS this week and here's how he answered a couple questions I found relevant:
Q: Can I get a quick reflection by you on PXL THIS 20?  What does it mean to you? 
A:  What the PXL THIS Film Festival means to me is deconstructing moving image art-making and the whole idea of a film festival. We gather the community to share in the creative process, bare bones style. Both in making and in watching, PXL THIS encourages participation, the same way that the PXL image offers little and requires the viewers to heighten their awareness and fill in the blanks. The gap is where the action is - the resonating interval. In Marcel Duchampian spirit, how do you make a film festival that is not a film festival? T S Eliot said that poetry is outing your inner dialogue. What form is your inner dialogue in? Maybe its that dreamy illusive Pixelvision image for some. An extension of consciousness? The next medium ? The Non-physical? The possibility of a world without words? Low definition can mean high participation. PXL THIS means to me connectedness not consumerism, hoicking up an ecstatic new state of tribal immediacy and involvement, simultaneity, all-at-onceness. The Balinese have no word for art, they do everything as well as they can. I salute all Pixelators and PXL THIS audience members who for two decades have mustered up multi-dimensions and multi-sensuousness. 
Q:  Is PXL THIS the largest publicly accessible pixelvision collection in the world? 
A:  YES, our archives are stored at The Academy, which is truly a major hoot. The cheeziest genuine fake film festival in the world is treated by the most important Film Archives in the world with respect. They feel that its worth storing and preserving. It reflects what humans can do. As McLuhan said, we shape our tools then they shape us
Pixelvision History
Fialka, self-described as a para-media ecologist based in Venice, CA, is the visionary behind the PXL 2000 fetish. To say he has a way with words is an understatement. He describes the festival by stating, “PXL THIS features films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by re-framing a new cinema language. Past PXL THIS participants have included Lee Ranaldo (Sonic Youth), Chris Metzler (Fishbone & Salton Sea documentaries), James & Sadie Benning, Joe Gibbons, Cecilia Dougherty, Peggy Ahwesh, Jesse Drew, Margie Strosser and Michael Almereyda.”  When he describes how the outside world has described PXL THIS he proudly states, "We really love that the “New York Times” called PXL THIS “small” and that lots of our best entries come from Venice California’s Boardwalk performers (as in “houseless” — not homeless because the earth is everyone’s home)."
Pixelvision's history as a tool of choice by experimental filmmakers took off after a grant by the Rockefeller Foundation was awarded to Sadie Benning for her work with the PXL 2000 in 1993. PXL 2000 footage was used in the films Slacker (1991) and Hamlet (2000). Over time, from its brief period on the shelves as a toy for for children to current day, the PXL 2000 format has resurfaced from a failed technology to a prized cult object that even became a thesis topic for some students (McCarty, 2005).
“There is something about the quality of the image that is really dreamlike and it has a feeling of being in the past already even though you just shot it. It is not quite reality or not quite representational of what's really happening at that moment, so it already has this distancing effect of feeling like it's already in the past somehow. “ – Sadie Benning, Award-winning Pixelvision artist
Most of the videos included in the PXL THIS 20 film festival are between 3 and 6 minutes in length though some of the gems in past PXL THIS festivals extended over ten minutes in duration. The festival's following is quite dedicated but it somehow keeps a low profile. If you missed the October submission deadline, don't fret, this film festival has a cult-like following and Fialka receives a growing number of entries each passing year. If you have old PXL 2000 films laying around, your entry into the next PXL THIS is always welcome.  Fialka says, "Pixelators return to innocence by using, and even misusing, moving image art to view worlds that usually go unnoticed, evoking children's spirited desire to explore."
Low brow, or high brow? You decide, but as J. Hoberman of Premier Magazine said, “PXL is the ultimate people's video.”
Gerry Fialka believe's PXL THIS is best described by his hero, George Manupelli, founder of the Ann Arbor Film Festival, who said, “When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS.” Yep, that's a tough thought to top.  
"Gerry Fialka’s annual PXL THIS is a reliably surprising and seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director 


Pixelvision enables filmmakers to tap into that child-like innocence all artists seek in the creative process. What could be easier than starting with a kids toy. John Lane's 2001 book Timeless Simplicity articulates wabi-sabi, "the perfect antidote to the pervasively slick style of homogenized efficency." Pixelvisionaries evoke the spirit of Wabi-sabi: "This elusive philosphy is about sufficiency and restraint. It is about simplicity, the minor and hidden, the modest and humble, the imperfect and the evanescent. It is about treading lightly on the planet. An added dimension is its implicit message urging us to forget the seductions of success - wealth, status, power and luxury."

"As for the PXL 2000 camera, because it’s a child’s toy there’s a certain naiveté which is inherent in the productions. Yet due to its technology, the PXL 2000 camera produces these edgy, gritty, “rough as a night in jail” images. I find the juxtaposition of these two attributes very interesting and useful in many of the politically oriented pieces I’ve produced.   From a technical perspective, I would say my primary contribution to the field is that I created a filmmaking style using the PXL 2000 which I call Machinima Vérité. Machinima Vérité combines Machinima (creating movies from 3D PC game engines) with Cinéma Vérité techniques to create a sense of realism. So basically I produce and render the movie from a game engine on a PC, display the video on a high resolution LCD, and recapture the video on the LCD using a PXL 2000 camera. My videos “CATACLYSM” and “bursting in air” are a couple of examples of this technique.   I really appreciate all of the effort Gerry Fialka puts in with the PXL THIS festival. If it weren’t for Gerry, interest in the PXL 2000 would have died out many years ago." - L. M. Sabo
"Gerry Fialka's monthly film series 7 Dudley Cinema provides and oft nourishes the most avant/eclectic/experimental/kook/philosophical and damn downright entertaining filmmaking this side of Andre Breton and the Exquisite Corpse Crew. His programming is the only reason I will go west of Western Avenue, unless I'm neck deep in the Pacific Ocean. - Filmmaker/Actor Emmy (The Volcano) Collins
"Gerry Fialka is Los Angeles' preeminent underground film curator." - Robin Menken, cinemawithoutborders.com

PXL THIS Director Gerry Fialka is available for Pixelvision & Media Ecology workshops. https://www.laughtears.com/workshops.html  "Fialka's workshops are in depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, Award-winning filmmaker

Cinesource PXL article by Gerry Fialka -  http://cinesourcemagazine.com/index.php?/site/comments/pxl_triple_fake/

 Check out this amazing site by Will Erokan, who posted the past 20 PXL THIS festivals online

and here's the individual links...

michaelkoshkin@gmail.com is making a documentary about Pixelvision.