From: weekly listing (email suppressed)
Date: Sat May 13 2006 - 07:31:25 PDT
This week [May 14 - 21, 2006] in avant garde cinema
NEW FILM/VIDEO: NON-FEATURE:
===========================
"Authority Head Exorcism" by Daniel J. King
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=252.ann
NEW CALLS FOR ENTRIES:
=====================
Aurora Picture Show (Houston, TX 77009; Deadline: May 12, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=558.ann
Pacific Cinémathèque (Vancouver, BC Canada; Deadline: September 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=559.ann
Bernal Heights Outdoor Cinema (San Francisco, Ca USA; Deadline: June 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=560.ann
PARIS STRIP FILM FESTIVAL (Paris, France; Deadline: February 26, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=561.ann
Lausanne Underground Film & Music Festival (Lausanne, Switzerland; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=562.ann
Ask the Robot (New York, NY; Deadline: May 29, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=563.ann
Under Ten (Oakland, CA; Deadline: May 28, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=564.ann
New Bedford Film Festival (new bedford ma, USA; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=565.ann
35th Festival du Nouveau Cinema - Montreal (October 18 - 28, 2006) (Montreal (Qc) CANADA; Deadline: June 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=566.ann
San Diego Women Film Festival (San Diego, CA, USA; Deadline: July 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=567.ann
DEADLINES APPROACHING:
======================
25 FPS (Zagreb, Croatia; Deadline: June 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=477.ann
Hull Screen (Hull; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=495.ann
MadCat Women's International Film Festival (San Francisco, CA; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=498.ann
Call for filmmaking stories (Toronto, Canada; Deadline: June 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=510.ann
Antimatter Underground Film Festival (Victoria, BC, Canada; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=512.ann
Perform.Media (Bloomington, IN USA; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=516.ann
Cinematexas International Short Film Festival (Austin, Texas, USA; Deadline: June 02, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=536.ann
Artists' Television Access (San Francisco, CA, USA; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=541.ann
Chicago International Children's Film Festival (Chicago, IL, USA; Deadline: May 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=546.ann
Experimental Film Festival in Seoul (Seoul. South Korea; Deadline: May 13, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=547.ann
Mexico! (Monterrey, NL; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=553.ann
Distillery (South Boston, ; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=555.ann
NoBudget VideoFilmfestival, Weimar (Weimar, Germany; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=556.ann
Lausanne Underground Film & Music Festival (Lausanne, Switzerland; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=562.ann
Ask the Robot (New York, NY; Deadline: May 29, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=563.ann
Under Ten (Oakland, CA; Deadline: May 28, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=564.ann
New Bedford Film Festival (new bedford ma, USA; Deadline: May 31, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=565.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* The Autofilmography of Fred Mcleod Or the Film You Are Looking For Is Not
On This Reel ~Plus~ Some Pittsburgh Filmmaking (1959 - 2006) [May 14, Chicago, Illinois]
* The Short Documentaries of Krzysztof Kieslowski, Part 1 [May 14, Los Angeles, California]
* The West May Save Us Yet [May 14, San Francisco, California]
* Questions Concerning Technology: Experimental Works [May 14, San Francisco, California]
* More Experimental Films [May 15, Gent, Belgium]
* Slack video Presents [May 15, Hull]
* The Myth of Obo Martin By Michael Musika - Mission Creek Music and Film
Festival [May 16, San Francisco, California]
* Magic Lantern Presents "The Magic Show" [May 17, Providence, RI]
* Mission Creek Music and Film Festival [May 18, ]
* 23rd Annual Media Arts Department Showcase and Awards Presentation [May 18, Jersey City, New Jersey]
* Her Shorts: 1st Annual Women's International video Festival [May 18, Tucson]
* You Killed the Underground Film [May 19, London, England]
* Brett Kashmere: Geographies of Identity [May 19, Montreal]
* Material As Content: Wilhelm Hein & Malcolm Le Grice [May 20, London, England]
* Wilhelm Hein's Secret Cabinet: Films From A Private Collection [May 20, London, England]
* New Experimental Works [May 20, San Francisco, California]
* Filmforum Presents the Short Documentaries of Krzysztof Kieslowski, Part
2. [May 21, Los Angeles, California]
* Kidlat Tahimak's Perfumed Nightmare [May 21, San Francisco, California]
* Illuminated Corridor Outdoor Performative Projection [May 21, San Francisco, California]
Events are sorted by CITY within each DATE.
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SUNDAY, MAY 14, 2006
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5/14
Chicago, Illinois: The Orgone Archive
8pm, Chicago Filmmakers 5243 North Clark Street Chicago, IL 60640
THE AUTOFILMOGRAPHY OF FRED MCLEOD OR THE FILM YOU ARE LOOKING FOR IS NOT
ON THIS REEL ~PLUS~ SOME PITTSBURGH FILMMAKING (1959 - 2006)
Chicago Filmmakers presents an evening of Pennsylvania filmmaking
screened for you in two parts by The Orgone Archive (ex-Orgone Cinema)
from Pittsburgh 13, Penna. Part 1: The Autofilmography of Fred McLeod or
The Film You Are Looking For Is Not On This Reel Mix Warhol's static
voyeurism, Markopoulos' intricate sense of place and Anger's flair for
pop music and color, and you might come close describing the cinema of
Oakmont, Pennsylvania's amateur, Auricon auteur Fred McLeod. Considered
by railroad enthusiasts to be the father of sync sound train films,
McLeod left behind a legacy of personal movies made between 1933 and
1980. Whereas the majority of amateurs were out documenting vacations,
parties and picnics, McLeod was busy making films about wood saws,
bicycles, Buicks, golf, television, churches, Christmas trees, autumn
leaves and steam locomotives. Greg Pierce of The Orgone Archive will be
presenting a healthful dose of McLeod's cinematic wonders, each one a
pure and particular peek at everyday marvels and the man in front of the
camera. No disappointment! Part 2: Some Pittsburgh Filmmaking (1959 -
2006) Continuing the no disappointment and adding the almost
never-before-seen we conclude with a slight inventory of Pittsburgh
(ex-Smoke City) 16mm filmmaking. Take a Kodachromatic tour of Joseph D.
Kramer's Squirrel Hill Home Inventory; watch real zombies act like
consumers at the Monroeville Mall in rushes from Dawn of the Dead; revel
in Roger Jacoby's rarely seen hand-processed gem Kunst Life IV; see two
serenely beautiful unknowns from Al Mahler; and witness the first public
screening of Dave Saz's camera roll document of Stan Brakhage speaking
at Chatham College in 1973 to some of Pittsburgh's best known filmmakers
and film advocates. Also Chicago premieres from Brian Dean Richmond and
the Orgon Filmarbeiter Kollektiv along with the surface turmoil, twin
attack of Adam Abrams and Steven X. Boyle. Program 1 The Autofilmography
of Fred McLeod or The Film You Are Looking For Is Not On This Reel 1)
All Personal Sound Movies (1951 - 63) 22min. color / b&w, sound 2) BA BA
and gary playing football 1979 (1979) 5min. color, sound 3) Unknown
Footage + Tests* (1958) 5min. color / b&w, sound 4) Chuck's Trains
(1939/45) 3min. b&w / color, silent 5) Train Views Near Harrisburg,
Lewistown Narrows, Besserman Coal Train 1980 (1980) 10min. b&w, sound 6)
Edgewater Picnic / Autumn Leaves (1948 / 1960) 9 min., b&w / color,
silent / sound 7) All Golf Films (1973) 30min. color, sound 8) Wash
Cathedral (1955) 3min. b&w, sound 9) BICYCLES Joe Jenkins Me Anita Sept
5, 1980 (1980) 6min. color, silent ~ All films are 16mm camera original
except*. DELINQUENT FILM ABUSERS ARE SUSPECT. FILM DAMAGE IS ON AN
INCREASE. DON'T BE A FILM WRECKER. SHOOT FILM NOT PEOPLE. Intermission
then... Program 2 SOME PITTSBURGH FILMMAKING (1959 - 2006) 1) HOME
INVENTORY (1959) by Joseph D. Kramer 3min 2) ROTASIA &/OR SKRIMMENFLIGGA
(2006) by Adam Abrams. Sound by Steve Boyle ?min 3) WAVE POSITIVE [test
roll for unfinished film SKYLIGHT] (1976) by Al Mahler 3min 4) STAN
BRAKHAGE AT CHATHAM COLLEGE, 1973 (1973) by Dave Saz 4min 5) UNTER DER
MITTLEREN BRÜCKE (1989) by Brian Dean Richmond sound 9min 6) UNKNOWN
[HIGH SPEED HALLER] (1978) by Al Mahler 1.5min 7) DAWN OF THE DEAD
RUSHES, 11/6/77 (1977) by George Romero 9min 8) KUNST LIFE IV (1977) by
Roger Jacoby sound 6m 9) 28 JÄHRIGER BEIM SCHÜTTERN DES KOPFES (1993) by
Orgon Filmarbeiter Kollektiv 3min All films are 16mm, b/w or color,
silent except where noted. ORGONE NOT WAR. S A V E P I T T S B U R G H.
S U P P O R T P I T T S B U R G H F I L M A N A L Y S I S.
5/14
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
4:00 and 7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.
THE SHORT DOCUMENTARIES OF KRZYSZTOF KIESLOWSKI, PART 1
In conjunction with LACMA's presentation of the features of Kieslowski,
Filmforum is honored to present the Los Angeles screenings of the short
documentary films of Kieslowski, over the course of three Sundays in
May. This series offers a unique opportunity to follow an artist moving
from what might be considered "studies," then to sketches, and then
finally to fully realized portraits. Tonight:?The Office (1966)?The Tram
(1966) ?Concert of Requests (1967)?From the City of Lodz (1969),?I Was a
Soldier (1970)?Factory (1970),?Before the Rally (1971)
5/14
San Francisco, California: Artists Television Access
http://www.atasite.org/
8PM, 992 Valencia Street (at 21st)
THE WEST MAY SAVE US YET
Sunday, May 14, 2006. 8PM The West May Save Us Yet 10th annual Mission
Creek Music and Film festival From Olympia to Los Angeles, musicians and
film artists up and down the Pacific coast are getting together to
liberate the music video from its status-quo context as self-promotional
tool and transform it into a new, confrontational art form, displacing
major-label preen with honest, direct address and DIY visual kinesis
Despite having next-to-nothing budgets, production values are way high,
and you will be as well. Assembled by musician and curator Nick Hallett,
the reel is a follow-up to last fall's '23 Reasons to Spare New York,' a
syllabus of the Big Apple's new psychedelic wave. This screening will
likewise involve its fair share of the heavy, heady visuals (this is the
west coast, man!) Just imagine what MTV would look like if it still
broadcast subversive, anti-consumerist, revolution-invoking, and
seizure-inducing films, soundtracked by bands that actually push the
boundaries of sound. * Deerhoof: Wrong Time Capsule, dir. Martha Colburn
3:00 * Black Mountain: Druganaut dir. Heather Trawick 4:00 * Ariel Pink:
Life in LA, dir. Nicolas Amato :30 * BARR: Lights Out, dir. Donovan/Vim
Crony 3:00 * Mae Shi: Chop 2, dir. David Park 1:00 * Numbers: Fuck You
Garage, dir. Eric Landmark 3:00 * Dynasty Handbag: I Can't Wait, dir.
Jibz Cameron, Sue Costibile and Indra * Dunis 2:45 * Tussle: Entre Chien
et Loup, dir. Alison Childs 2:00 * Crime in Choir: The Hoop, dir. Tim
Miller 4:00 * Ariel Pink: Bloody Bagonias, dir. Nicolas Amato :30 * Eats
Tapes: Pteryd, dir. Nate Boyce 3:00 * Sexy Midi: Wizards, dir. Kelly
Sears 1:15 * Push {H}it (Abe's the S Stands for Suppa Glitch Out for all
You Sukkas! Mix) from Universal Acid, dir. Marisa Olson and Abe Linkoln
1:30 * Phase Chancellor: exerpt from live performance, dir. Phase *
Chancellor 5:30 * Starter Set: In Can Can Descent, dir. Lindsay Beamish
4:00 * Matt Reilly: Punk House 6:30 * Ariel Pink: Loverboy, dir. Nicolas
Amato :30 * White Rainbow: Full Spectrum Healing Center, dir. Adam
Forkner 1:30 * Bonus: Tone Trad, dir. Jamie Potter 5:00 * Comets on
Fire: Beneath the Ice Age, dir. Elise Irving 3:30 * Casiotone for the
Painfully Alone: The Subway Home, dir. David Enos, Paul Stephanin 3:45 *
Bobby Birdman: Steal Yr Face, dir. Jona Bechtolt 3:30 * Ariel Pink:
Beverly Kills, dir. Nicolas Amato 2:15 * The Gossip: Standing in the Way
of Control, dir. Wyld File 4:30
5/14
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street at Third
QUESTIONS CONCERNING TECHNOLOGY: EXPERIMENTAL WORKS
Filmmakers Gibbs Chapman, Yin-Ju Chen, James T. Hong, Kerry Laitala In
Person. The works in tonight's program examine, use, and imagine
technology in provocative ways. Collectively they ask not only how do
–or might– technologies affect us, but how they determine our images and
imaginings of the world. From fairgrounds to the Zuse strip, from push
buttons to cars, video games, reproductive and waste technologies, the
works explore our cyborg nature. Created using either hand-processed
film, cgi, appropriated tv, or plain old cameras, and made for the big
screen or the i-pod, works include Kerry Laitala's Orbit, Caspar
Stracke's Zuse Strip, Gibbs Chapman's Push Button: A History of Idleness
& Ignorance, Scott Stark's Driven, Pawel Wojtasik's Dark Sun Squeeze,
Yin-Ju Chen and James T. Hong's Suprematist Kapital, and Hong's The
Coldest War Part 1. ADMISSION: $8 General, $5 Cinematheque Members,
Seniors, Disabled, Students (w. ID). Advance Tickets: 415-978-ARTS
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MONDAY, MAY 15, 2006
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5/15
Gent, Belgium: artcinema OFFOFF Film-Zien vzw
http://www.offoff.be
20:00, Lange Violettestraat 237
MORE EXPERIMENTAL FILMS
MICHAEL MAZIERE UNTITLED UK, 1980, sound mag stripe, B&W, 18 mins, 16mm
A highly experimental film which uses a kaleidoscope array of techniques
to question the representation of space in film. The film can be read as
an existential journey through interior spaces or as a phenomenological
inquiry into the relationship between what is seen and the act of
seeing. By using a multiplicity of camera movements, image
superimpositions, sound dislocations, the film presents spaces in
constant transition and consecutively in motion never assuming a fixed
form. WILL MILNE SHOWN TOES UK, 1980, sound mag stripe, colour, 17 mins,
16mm With help from Edward Woodman. Picture cuts sound, rhythm cuts
picture, shot bursts divide colour sections. A crude index of
disparities, no imposition of overall order. Some basics: a crowd,
traffic, sounds of jets, babies, cacophony, a strange room. Space for
projection between everything. - W.M. PAT O'NEILL RUNS GOOD USA, 1970,
sound, B&W and colour, 15 mins, 16mm A darkish journey down memory lane,
to visit some news events, folkways and thought patterns associated with
the late forties and early fifties. The film is also concerned with such
perceptual phenomena as color-space, "false tones" caused by varying
black-white alternations of simultaneously seen rhythms set up by
multiple repetitive actions, and the use of image outlines as
"containers" for other imagery. Sort of a working notebook, which is
continued in EASYOUT and DOWN WIND. The optical printer is, in very
simplified terms, a combination of projector and camera that at its most
basic is used for technical devices like dissolves, freezes, slow
motions etc. Used by film-artists, it can produce moving compositions as
dense and complex as the static compositions of painting or collage. Pat
O'Neill is probably the best film-maker on the West Coast and, like most
Californian Art, his work shows a great concern for technical
sophistication and perfection. But O'Neill's films are much more than
brilliant technical exercises. There is an intense awareness and control
of pace and colour, that combines with the complex images made by the
optical printer to communicate meaning by the integral qualities of the
images rather than by narrative, thus creating a new film language. Pat
O'Neill writes: "The purpose of Runs Good is a personal exploration of
the unique experience of the film image. It emphasises differences
between photographed reality and ordinary reality by setting up a
progression of paradoxical situations which cannot be perceived either
as flat or as three-dimensional, but somewhere between". N.B. Parts of
this film are not considered suitable for children. Award: First Prize,
Ann Arbor Film Festival, 1971 LIS RHODES LIGHT READING UK, 1979, sound,
B&W, 20 mins, 16mm ''Light Reading' is the possibility of a new
direction in film, not to be co-opted by an overriding definition.'--
Peter Gidal, Materialist Film 'The film begins in darkness as a woman's
voice is heard over a black screen. The voice is questioning, searching.
She will act. But how? Act against what? The bloodstained bed suggests a
crime. . . could it be HIS blood? Could it be HER blood? The voice
searches for clues. . . . The clues suggest it is language that has
trapped her, meanings that have excluded her and a past constructed to
control her. 'she watched herself being looked at she looked at herself
being watched but she couldn't perceive herself as the subject of the
sentence. . . ' 'Light Reading' ends with no single solution. But there
is a beginning. Of that she is positive. She will not be looked at but
listened to. . . ' 'Light Reading', Felicity Sparrow, in 'Her image
fades as her voice rises', Arts Council 'Lis Rhodes uses often
mysterious, dangerous and highly personal images.'--Amy Taubin, Village
Voice CHARLES LEVINE PEACHES AND CREAM USA, 1969, sound, colour, 6 mins,
16mm Assisted by Paul Morrisey. Music by Louis Misclagna. "The Collage
paintings of Stanely Fisher: sin, sex, and gore blazing across the
screen." - P.M. PEACHES AND CREAM which closes in on the paintings and
closes in on the distance, is a spectacular success. The camera supplies
visual movement to these spatially static canvases. Something is
happening - never mind if its art. For five minutes or so, one can tap
one's foot to the music and look." - Arts Magazine, Nov. 1969. PETER
LIPSKIS EXPERIMENTAL RHYTHMS Canada, 1976, sound, B&W & colour, 20 mins,
16mm "A collection of nine short films in which cinematic representation
has been altered through optical printing techniques, as well as the
application of numerical systems and 'cut up' editing (a la William
Burroughs)." - P.L. JANIS CRYSTAL LIPZIN THE FACTS IN THE CASE OF M.
VALDEMAR USA, 1976, sound, colour, 12 mins, 16mm Scientists always have
called upon their imaginations to make sense of their experimental
observations. And shortly before the French Revolution, science was not
free of its fictions. Franz Anton Mesmer was then attempting serious
explanations of the wonderful forces of nature by suggesting that some
impalpable, invisible fluid carried electricity, magnetism and light.
His pseudo-scientific system for bringing the world into focus -
'mesmerism' - forms the central motif of the Edgar Allen Poe short story
from which this film derives its title. Two strains dominate the film
"... VALDEMAR...": one celebrates a delight in the mesmeric state
induced by the random repetitive movements of a mechanical toy car with
its flickering coloured light and the second traces recollections of the
humorous process of shooting the film. Oscillations between these two
elements underscore the play between illusions of physical reality and
consciousness-altering. "... VALDEMAR..." is an entire 400-foot camera
roll with synchronous sound. Made with assistance from the Louis B.
Mayer Foundation
5/15
Hull: Slack Video
http:// www.slackvideo.org
7pm, Lamp, 2 Norfolk Street
SLACK VIDEO PRESENTS
Slack Video Presents: The 9th Triannual Review Plus Films from
Undercurrents News Network Monday 15th May 2006 @ the Lamp, 2 Norfolk
Street, Hull, 7 pm – midnight. Free entry. 9.15 pm - 11 pm - The 9th
Triannual Review : A fine handpicked selection of short narrative,
experimental and animated films from our February, March and April
screenings. 7.30 pm - 9.10 pm - BroadHorizons : - radical women's video
from undercurrents news network Food Available till 8.30 tel: +44
(0)7989 47786 / (0)7833 753 951 email: email suppressed /
email suppressed
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TUESDAY, MAY 16, 2006
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5/16
San Francisco, California: Artists Television Access
http://www.atasite.org/
8PM, 992 Valencia Street (at 21st)
THE MYTH OF OBO MARTIN BY MICHAEL MUSIKA - MISSION CREEK MUSIC AND FILM
FESTIVAL
Tuesday, May 16, 2006. 8PM the myth of Obo Martin by Michael Musika
Mission Creek Music and Film Festival A lyrical documentary shot in
colour and black and white by Chris Arnold and Isabel Fondevila in 2005
.The movie explores a question Michael Musika asks his third grade
students " if being a creative person means to remain a child in an
adult world ?" At the heart of the question, is Michael Musika and his
friend Obo Martin and their adventures through San Francisco¹s music
scene, playing shows in hallways , baroque bars, social séances, and
lantern-lit forests. Musika translates the experience to the children as
a spooky comic myth. Through fact, fiction, and fairy tale the movie
questions the difference between artistic freedom and childhood. Do you
have to sell your dreams to make a living? This full length documentary
features musical performances by San Francisco luminaries Sean Hayes,
Jolie Holland, Michael Musika, Sleepy Todd and Ara Anderson
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WEDNESDAY, MAY 17, 2006
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5/17
Providence, RI: Magic Lantern
http://magiclanterncinema.com/
9:30 pm, 204 South Main
MAGIC LANTERN PRESENTS "THE MAGIC SHOW"
CURATOR MICHELLE PUETZ IN PERSON! Because "M" is for "May" and "Myth"
and "Mekalekahimekahineyho," and because that last word is TV
Genie-Speak for "Magic" which is shorthand for "Magic Lantern" which is,
in turn, Rhode Island slang for "Movie," your supernatural friends at
Magic Lantern have conjured up "The Magic Show" for your wide-open eyes.
Guest-curated by Michelle Puetz from the Windy City, this program makes
manifest an assortment of fantastical films in which cinema is revealed
as Magical Form and magic is visualized through the space of the
theater. Dearest viewers, don't forget to bring your lucky rabbit's
foot and your amulet pouch, for you will bear witness as 16mm practices
of the occult, black magic, and alchemy are brought to light at 24
frames a second. This is no sleight-of-hand trickery, and there is no
rabbit in our hat - this is the true Magic of Magic Lantern, a cinema of
demons and ghosts and Mick Jagger (!) and puffs of smoke and the marks
of fireflies and crabs and the dance of light on the inside of your
skull. Yes, dear viewer, be prepared - your eyes will bulge and your
world will expand infinitely as invisible realities emerge through a
Magical Explosion of Sensations! Featuring: The Red Spectre by Ferdinand
Zecca (7:00, 16mm, 1903), Our Lady of the Sphere by Larry Jordan (10:00,
16mm, 1969), Spiral Vessel by Janie Geiser (6:00, 16mm, 2000), Cat's
Cradle by Stan Brakhage (6:00, 16mm, 1959), Lachrymae by Brian Frye
(3:00, 16mm, 2000), What the Water Said, Nos. 1-3 by David Gatten
(16:00, 16mm, 1997-98), Early Abstractions, No. 10 by Harry Smith (6:00,
16mm, 1956), Allures by Jordan Belson (8:00, 16mm, 1961), Invocation of
My Demon Brother by Kenneth Anger (11:00, 16mm, 1969) TRT 73:00 $5
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THURSDAY, MAY 18, 2006
----------------------
5/18
:
8:00 pm, 992 Valencia St.
MISSION CREEK MUSIC AND FILM FESTIVAL
Mission Creek Music and Film Festival From The Dawn of Time Until The
Day After Tomorrow: Music Films and Videos Curated by Danny Plotnick
Thursday, May 18, 8 pm, $5 Artists' Television Access 992 Valencia, SF,
CA 94110 contact: Artists' Television Access, email suppressed, (415)
824-3890 Mission Creek Music Fest, Heather Snider,
email suppressed, www.mcmf.org Danny Plotnick,
email suppressed, (415) 994-9323 For the third year in a row
local filmmaker Danny Plotnick is curating music-based films and videos
from around the planet. Time traveling from the '60's to the '80's and
boldly venturing into the '00's, this program is an inspired sonic and
visual smorgasbord that travels across both time and space. The show
will include a Birdman Records sampler platter featuring animated
attacks from the Modey Lemon, the classic stylings of Foetus, the Wonder
Showzen-inspired PFFR, and the serene style of local chanteuse Paula
Frazier. Also on the bill will be horror show offerings from Buckethead
created by film maestros Syd Garon and Rodney Ascher, the urban spaces
shakedown of England's Semiconductor, creepy depression-era flashbacks
from Vanessa Renwick, Bryan Boyce's ode to Valencia Gardens, Sue C's
garage door fetishism, a double dose of the billion beats per second,
scorched retinal policy of the TV Sheriff, non pornographic fare from
porn impresario Eon Mackai, the sexy rap damage of Gold Chains, the
blink or lose your eyesight offerings of Nate Boyce, the cut-and-paste
collage of Martha Colburn, sights and sounds of local heroes Deerhoof
and more. Setting the time machine to wayback will allow us to take in
super 8 views of Berlin circa 1980 courtesy of Malaria, as well as 16mm
views of the East Village circa the mid-60's courtesy of the one of the
all time great primitive rock acts (whose name can't be mentioned in a
press release).
5/18
Jersey City, New Jersey: Landmark Loew's Jersey Theatre
http://www.loewsjersey.org
7:00PM, 54 Journal Square, Jersey City, NJ
23RD ANNUAL MEDIA ARTS DEPARTMENT SHOWCASE AND AWARDS PRESENTATION
The 23rd Annual Media Arts Department Showcase and awards presentation
will be held on Thursday night, May 18th, 2006, at 7:00 PM, at the
Landmark Loews Jersey Theatre, 54 Journal Square, Jersey City, NJ. Works
including film, video, and digital media will be screened. A donation of
$3 to benefit the Theatre is suggested. The Dr. Joseph Drew Award for
Excellence in Media Production will be presented to selected graduating
seniors nominated by a faculty jury in the Media Arts Department of NJ
City University. This prestigious award recognizes a strong academic
standing; the production of a body of outstanding work; and service to
the Media Arts Department. Past winners of the award have gone on to be
independent producers, writers, directors, graduate students, teachers,
and media technicians. The Landmark Loews Jersey Theatre opened its
polished brass doors on September 28, 1929. Built at what was then the
impressive sum of $2 million dollars, the Loews was accurately called
the most lavish temple of entertainment in New Jersey. The Landmark
Loews Jersey Theatre emphasizes the appreciation and enjoyment of
classic and independent film. Going to the movies is the way many
people, especially young people, discover the power of the art of
American entertainment in their own lives. Reduced rate parking is
available for the 23rd Annual Media Arts Department Showcase at the
Landmark Loews Jersey Theatre for $3.50 at the Square Ramp Parking
Garage, behind the theater on Magnolia Street. A party following the
screening will be held at the MoJo Lounge, at 130 Westside Ave., in
Jersey City, phone (201) 333-9092. The Media Arts Department is the
official home of The Thomas Edison Media Arts Consortium - The Black
Maria Film & Video Festival, New Jerseys own Academy Award qualifying
festival for documentary shorts. The department is also the co-sponsor,
with the Black Maria Film & Video Festival, of the New Jersey Young Film
and Videomakers Festival. The Womenswork Media Collective and URBAN
IMAGE, based at the University, provide opportunities for emerging
artists from NJ City Universitys Media Arts Department to screen their
work at prestigious arts venues including the Jersey City Museum, the
Fort Lee Museum, the Hoboken Historical Museum, and the Red Saw Gallery
in Newark, NJ. The Department offers a major program of study in media
including film theory, audio, video, film, and digital media production
and is accredited by NASAD - the National Association of Schools of Art
and Design.
5/18
Tucson: Plugged Video Collective
http://www.pluggedvideocollective.org/
6:00 PM, Dinnerware Contemporary Art Project Gallery, 101 W. 6th Street
HER SHORTS: 1ST ANNUAL WOMEN’S INTERNATIONAL VIDEO FESTIVAL
Tucson, AZ (April 19, 2006) – Her Shorts opens at Dinnerware
Contemporary Art Project Gallery, on May 18, and runs 19, 20 and 21 for
it's 1st year to showcase and celebrate new video art and film conceived
and directed by emerging and established women artists from the USA and
abroad. Two forty-five minute programs of short films and videos will
screen each evening highlighting the work of many first time video
artist and directors who are working nationally and around the globe
including Russia, Kazakhstan, China, and London. Her Shorts was
conceived by the local all women Plugged Video Art Collective.
Organizing members include Lora Alaniz, Raina Benoit, Gina Cestaro,
Jennifer Beth Guerin, Laura Milkins, Maria Navarro, Eliane Paulino,
Kristin Skees, Kate Walker and Amanda Yopp. The festival's central
objective is to celebrate short video art and film making, 10 minutes or
less in length, which have been directed and written by contemporary
women video artist and filmmakers. All genres, topics and themes,
including experimental, documentary, narrative and animation were
considered for the festival. Final selection was made based on
compelling visual aesthetics, subject matter, creative story telling,
and innovative production quality and the use of media and technology.
Most importantly, Her Shorts festival aims to introduce and promote a
diverse body of work and topics to audiences who may not otherwise have
an opportunity to view contemporary video art and films. This year's
festival will showcase videos and films with themes that run the gamut
of: reflective, surreal, dark, honest, passionate, humorous to absurd.
Highlights include: Cecille Manson (USA-Sweden), The Yellow Butterfly,
Jamie Williams (USA), American Cowgirl, Lisa Vinebaum (London), Blow Up,
Paula Thum (Russia), Talking to Myself, Alla Girik and Oksana Shatalova
(Kazakhstan), Warning! Woman, Jennifer L. Porter (USA), The Puddle,
Elena Tejeda-Herrera (USA-Peru), Teddy. All screenings are free and
start at 6:00 pm and will take place at Dinnerware Contemporary Art
Project Gallery, 101 W. 6th Street, Tucson, AZ 85701.
www.dinnerwarearts.com A Welcome reception will take place on Thursday
May 18, from 6:00 to 8:00 PM at the DCA Project Gallery- featuring work
of Plugged Video Collective members. Friday May 19th, 6:00 pm, Project
Gallery- Take 1 - Cecille Manson (USA-Sweden), director of The Yellow
Butterfly talks about her experimental narrative that follows a 4-year
old girl's escape of the parade into the ghetto with her mother in Nazi
occupied Germany. Saturday May 20th, 6:00 pm, Project Gallery- Take 2 -
Saddle up with Jamie Williams (USA) as she discusses her documentary
American Cowgirl, set against the wide-screen grandeur and spirit of the
American West. Sunday May 22nd, 2 pm, Treistmen Center UA – Join
University of Arizona Visiting Professor Lucy Petrovich (USA) for her
3-D interactive video demonstration and her talk on women in the digital
arts. The Treistman Center is located on the University of Arizona
campus at 1017 N. Olive, Music Bldg. Room 137 For more info visit our
website http://www.pluggedvideocollective.org/or call (520) 792-4503.
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FRIDAY, MAY 19, 2006
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5/19
London, England: The Horse Hospital
http://www.thehorsehospital.com/
7:30pm, Colonnade, Bloomsbury, London, WC1N 1HX (Nearest Tube: Russell Square)
YOU KILLED THE UNDERGROUND FILM
YOU KILLED THE UNDERGROUND FILM, OR THE REAL MEANING OF KUNST BLEIBT,
BLEIBT. Wilhelm Hein (Germany), 2002-06, b/w & colour, sound-on-cd, 120
mins. Wilhelm Hein, punk pioneer of the German underground, presents You
Killed The Underground Film, or The Real Meaning of Kunst Bleibt,
Bleibt, a diaristic odyssey that slides from the sublime to the
ridiculous, between document and performance. Jack Smith, Nick Zedd and
others appear in the film, which transcends nostalgia to become a pure
and progressive affirmation of independence. Defiant, didactic and
polemical, this sprawling opus is a kick in the teeth for convention.
Hein began filmmaking in the 1960s, with rough collages that were
audio-visual assaults on the senses. A true radical, who has resisted
become part of the establishment, Wilhelm Hein remains committed to the
underground and maintains a subversive practice dedicated to the freedom
of expression. "Assembled from over 10 years of footage he shot and
collected, Wilhelm Hein's new film is a fascinating and challenging
example of what it means to make politically relevant underground film
in an increasingly rented world. The film's title is partly taken from a
text of a performance by Jack Smith at the 1974 Cologne Art Fair that
Hein documented and uses here in the film's prologue. On the soundtrack
we hear Smith's familiar, almost comforting, nasaldrone bemoaning
museums, the art market and artists whose images suck the life out of
their subjects, and the thinning of art. Images of Hein next to various
public sculptures and monuments in Poland, the Ukraine, and Russia
accompany parts of Smith's rant. In this sequence, as in many others
(for instance, the witty nod to Andrew Warhola set in Warsaw and scored
with A Night In Tunisia), Hein's unexpected combination of sound and
image, of references and citations, calls to mind what might be one of
the film's central concerns: what can underground film tell us about the
changes in Eastern Europe over the past 15 years? Hein's révue-like film
demonstrates the relevance of asking the question while offering
numerous ways of answering it. The film functions as a burlesque show of
aesthetic strategies and possibilities, invoking either directly or
indirectly a mix of Hein's favourites, including Marcel Duchamp, George
Grosz, Nick Zedd, Arnold Schoenberg, Derek Jarman, Kurt Kren, Jerry
Tartaglia, Samuel Beckett, Pete Seeger, Jack Smith, Andy Warhol and many
more. Hein never slips into a mode of irony or cynicism while poignantly
and beautifully juxtaposing an earnest humanitarian Michael Jackson song
with some re-edited Japanese porn. With his sexy, playful and
contemplative film, Hein asks of the underground what Jack Smith asked
of Maria Montez: give socialist answers to a rented world!" (Marc
Siegel)
5/19
Montreal: Concordia University
http://www.brettkashmere.com
2pm, de Sève Cinema in McConnell (Library) Building, LB-125, 1400 de Maisonneuve W
BRETT KASHMERE: GEOGRAPHIES OF IDENTITY
Premiere screening! Valery's Ankle: A film-essay by Brett Kashmere (31
minutes, digital video, colour, 2006). Valery's Ankle explodes the
spectacle of hockey violence and its representation in North American
media -- from Eddie Shore's vicious, career-ending hit on Ace Bailey, to
Bobby Clarke's pre-emptive smashing of rival Russian star Valery
Kharlamov's ankle during the 1972 Summit Series, to Todd Bertuzzi's
revenge assault on Steve Moore -- filmmaker Brett Kashmere uncovers a
disturbing history of unforetold and abject Canadian behaviour. Preceded
by: unfinished passages (Brett Kashmere, 17 minutes, digital video, b&w,
2005). Small monument to my great-grandfather, prairie homesteader and
giver of consciousness. Internalized history lesson for the birth of a
province - in honour of 100 years since Saskatchewan's named
independence - and light reflection on cinema's unreeling history,
coterminously. Free! Financial Assistance: The Henry P. & Thomas R.
Schreiner-National Film Board of Canada Research/Production Grant in
Documentary, Mel Hoppenheim School of Cinema at Concordia University,
CIAM - Centre interuniversitaire des arts médiatiques. Info:
email suppressed
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SATURDAY, MAY 20, 2006
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5/20
London, England: Goethe-Institute London
http://www.goethe.de/ins/gb/lon/ver/en1331359.htm
4pm, 50 Princes Gate, Exhibition Road, London, SW7 2PH (Nearest Tube: South Kensington)
MATERIAL AS CONTENT: WILHELM HEIN & MALCOLM LE GRICE
An informal discussion between Malcolm Le Grice and Wilhelm Hein on the
origins and development of Materialist filmmaking, and the connections
and common ground shared between British and German artists in the 1960s
and 1970s. Each will show selections of their work from this formative
period. REPRODUCTIONS W+B Hein, Germany, 1969, b/w, sound, 28 min Strips
of 35mm photographic negatives are hand manipulated in a Moviola editing
machine and shot from its screen. The images are accompanied by a
soundtrack by Christian Michelis. Hein considers this early anti-art
film "even more concentrated than Rohfilm." YES NO MAYBE MAYBENOT
Malcolm Le Grice, UK, 1967, b/w, silent, 8 min "A film that makes its
experience through specific cutting devices in the printing and
processing technique, which mainly involved certain kinds of
positive-negative superimposition." LITTLE DOG FOR ROGER Malcolm Le
Grice, UK, 1967, b/w, sound, 12 min Le Grice's early Materialist project
was created by pulling 9.5mm home movie footage through the 16mm
printer. In projection, the photographic images become difficult to read
and the primary content becomes the film strip itself.
5/20
London, England: Goethe-Institute London
http://www.goethe.de/ins/gb/lon/ver/en1331359.htm
7pm, 50 Princes Gate, Exhibition Road, London, SW7 2PH (Nearest Tube: South Kensington)
WILHELM HEIN’S SECRET CABINET: FILMS FROM A PRIVATE COLLECTION
This screening of films from Wilhelm Hein's personal collection includes
rarely seen works by some of the major artists of the last century,
including Andy Warhol and Dieter Roth. The afternoon's Materialist theme
is extended with the process works of Tony Conrad and Peter Weibel, but
here it collides with the German punk scene of the 1980s and the
controversial performance art of the Viennese Aktionists Brus and Mühl.
(This screening is not suitable for persons under 18 years of age.) KISS
(excerpt) Andy Warhol, USA, 1963, b/w, silent, 12 min Three kissing
couples from the Andy Warhol serial. MARIO BANANA #1 Andy Warhol, USA,
1964, colour, silent, 4 min Underground superstar Mario Montez eats a
banana … in his own special way. 4 FILME (DOCKS & DOTS) Dieter Roth,
Germany, 1956-62, b/w & colour, silent, 10 min German artist Dieter Roth
made early direct cinema experiments by physically punching holes into
the film material. FINGERPRINT Peter Weibel, Austria, 1969, b/w, silent,
1 min "The film was produced by means of pressure rather than exposure –
film as the trace of a touch rather than light." 4-X ATTACK Tony Conrad,
USA, 1973, b/w, silent, 3 min What remains of raw, unexposed black and
white film stock that has been violently battered with a hammer. CHÉRIE
CHÉRIE Lukas Schmied, Germany, 1993, b/w, sound, 10 min Boredom, sex and
destruction: A film that encapsulates the German punk aesthetic.
UNFINISHED FILM Kurt Kren, Austria, c.1970, b/w, silent, 3 min An
unknown, unseen, and unfinished work by the legendary Austrian
filmmaker. ZERREISSPROBE Günther Brus, Austria, 1970, colour, sound, 15
min This final solo performance by Viennese Aktionist Brus is an extreme
test of endurance and suffering. DAS LEBEN DES SID VICIOUS Nikolaus
Utermöhlen & Max Müller, Germany, 1981, colour, sound, 12 min Oskar &
Angie (aged 3 and 7 years) act out the tragic story of Sid & Nancy,
punk's royal couple, in a film by the art group Die Tödliche Doris.
JOYCE IN PREUSSEN Annette Frick, Germany, 2004, b/w, sound, 5 min A film
reconstruction of Marie-Guillemine Benoist's "Portrait of a Negress"
(1900). SCHEISSKERL Otto Mühl, Austria, 1969, colour, sound, 12 min
Dedicated to Bataille, this rarely seen film is a hilarious, subversive
and explicit, performance for camera.
5/20
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
NEW EXPERIMENTAL WORKS
Comes now an energized exhibition of new efforts that champion personal
expression and radical cinematic form. Constituting the season’s
most exploratory programming initiative—and with many of the makers
in person—are Vanessa Renwick’s God Bless America, Nomi
Talisman’s David & Hazel, Jeanne Liotta’s Hephaestus of
the Airshaft, Robbyn Leonard’s Limerance, John Rroom’s Boyband
Mayhem, Enid Blader’s Love Diaries, David Cox’ Veromo, Kerry
Laitala’s Orbit, and James Hong / Yin-Ju Chen’s Suprematist
Kapital. AND: Damon Packard, Michelle Silva, Katherin McGinnis, Ken Paul
Rosenthal, Ben Folstein, et al.
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SUNDAY, MAY 21, 2006
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5/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
4:00 and 7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.
FILMFORUM PRESENTS THE SHORT DOCUMENTARIES OF KRZYSZTOF KIESLOWSKI, PART
2.
These lovely short works show the film master develop from film school
to early political films, as well as provide a fascinating look at
Poland in the days of Communism. Tonight:?Refrain (1972,)?The Principles
of Safety and Hygiene in a Copper Mine (1972)?Between Wroclaw and
Zielona Gora (1972),?Workers 1971: Nothing About Us Without Us
(1972)?Bricklayer (1973, released in 1981)
5/21
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street at Third
KIDLAT TAHIMAK'S PERFUMED NIGHTMARE
Exuberant, witty, and politically incisive, Tahimik's now classic 1977
feature/essay Perfumed Nightmare takes a wry look at American cultural
influence and globalization from the artist's playful and idiosyncratic
perspective. The nightmare is the "cocoon of American dreams" which the
film evokes and then parodies. From Tahimik's childhood village, where
Voice of America, movies, and space travel transform his lively
imagination, the film moves to Paris and Bavaria where he tastes the
fruits of the capitalism alongside an American bubble gum entrepreneur.
Produced with the help of Werner Herzog, Perfumed Nightmare "reminds one
that invention, insolence, enchantment –even innocence– are still
available on film" according to Susan Sontag. Presented in Association
with the Center for Asian American Media. ADMISSION: $8 General, $5
Cinematheque Members, Seniors, Disabled, Students (w. ID). Advance
Tickets: 415-978-ARTS
5/21
San Francisco, California: The Illuminated Corridor
http://www.illuminatedcorridor.com
8:48pm, Capp Street between 16th & Adair
ILLUMINATED CORRIDOR OUTDOOR PERFORMATIVE PROJECTION
The San Francisco debut of the Illuminated Corridor comes to the street
outside The LAB in a night of collaborative intermedia, performative
projection, live music and public art. Under the dynamic umbrella of the
Mission Creek Music & Arts Festival's Collision Series, the Corridor has
assembled seven ensembles featuring the work of over two dozen
filmmakers, media artists and musicians. Together they will relight a
historic city block and thread a story in cinematic sound and vision
along its facades. Inside the LAB, four intermedia ensembles (The
Deletist, Neigborhood Bass Coalition, Nullspace and Soundshack) will
create immersive environments with video, film, dance, theater, and
sonic arts. Artists include the Cinepimps with Alfonso Alvarez, Keith
Arnold, Steve Dye, Jeff Hobbs, Alan Korn and Joe Rut Epic [Abridged]
with Christian Bruno, Charles Kremenak, Steve Dye, Biagio Azzerelli,
Eric Steinberg and Arturo Cesares Cecilia Elguero Killer Banshee (Eliot
Daughtry and Kriss De Jong) Sarah Lockhart with Aurora, Damon Smith and
Weasel Walter Kathleen Quillian and Gilbert Guerrero and Sun-X (Peter
Nyboer and Eric van Osdel) free street performance $7-$15 sliding scale
admission to indoor performance About the Corridor
www.illuminatedcorridor.com The Illuminated Corridor is a next step in
outdoor cinema: a nomadic public art installation that creates
site-specific illumination of public space, drawing on local traditions
of film and live music. Launched in the Summer of 2005 by a
collaboration of over 50 Bay Area filmmakers, media artists, sound
artists and musicians, the Illuminated Corridor catalyzes new work,
showcases diverse collaborations between performative projectionists and
performing artists, and covers a vast territory of film and music
genres.
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The weekly listing is also available online at Flicker:
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.