David Wallace - Infinite jest

(At Least) Three Cheers for Cause and Effect. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Pam Heath, ‘Hugh G. Rection’; 78 mm.; 26 minutes; black and white; sound. The headmaster of a newly constructed high-altitude sports academy (Watt) becomes neurotically obsessed with litigation over the construction’s ancillary damage to a V.A. hospital far below, as a way of diverting himself from his wife’s (Heath’s) poorly hidden affair with the academically renowned mathematical topologist who is acting as the project’s architect (‘Rection’). CELLULOID (UNRELEASED)

(The) Desire to Desire. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Robert Lingley, ‘Madame Psychosis,’ Maria-Dean Chumm; 35 mm.; 99 minutes(?); black and white; silent. A pathology resident (Lingley) falls in love with a beautiful cadaver (‘Psychosis’) and the paralyzed sister (Chumm) she died rescuing from the attack of an oversized feral infant. Listed by some archivists as unfinished. UNRELEASED

Safe Boating Is No Accident. Year of the Tucks Medicated Pad(?). Poor Yorick Entertainment

Unlimited/X-Ray and Infrared Photography by Shuco-Mist Medical Pressure Systems, Enfield MA. Ken N. Johnson, ‘Madame Psychosis,’ P. A. Heaven. Kierkegaard/Lynch (?) parody, a claustrophobic water-ski instructor (Johnson), struggling with his romantic conscience after his fiancee’s (‘Psychosis”s) face is grotesquely mangled by an outboard propeller, becomes trapped in an overcrowded hospital elevator with a defrocked Trappist monk, two overcombed mis-sionarjes for the Church of Jesus Christ of Latter-Day Saints, an enigmatic fitness guru, the Massachusetts State Commissioner for Beach and Water Safety, and seven severely intoxicated opticians with silly hats and exploding cigars. Listed by some archivists as completed the following year, Y.T.-S.D.B. UNRELEASED

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’ dand ‘far and away [James O. Incandenza’s] most entertaining and compelling work.’ eWest Coast archivists list the film’s gauge as ‘16 … 78 … n mm.,’ basing the gauge on critical allusions fto ‘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.