From: weekly listing (email suppressed)
Date: Sat Sep 30 2006 - 10:15:49 PDT
This week [October 1 - 8, 2006] in avant garde cinema (part 2 of 2)
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FRIDAY, OCTOBER 6, 2006
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10/6
Lawrence, Kansas: Open Cinema
http://opencinema.bravehost.com/
8.30pm, 936 1/2 Mass. (upstairs)
LIGHT FROM THE UNDERGROUND
October 6th-8th [experimental film selections] Friday, 8.30pm, Love
Garden Sounds Michael Snow's 'Wavelength' (1966-67) All free, open to
the public, donations accepted. 16mm prints. No DVD projections!
Questions: email suppressed
10/6
Los Angeles, California: Redcat
http://www.redcat.org/
7:00pm, 631 W. 2nd St.
FOREVERMORE: BIOGRAPHY OF A LEACH LORD
FOREVERMORE:BIOGRAPHY OF A LEACH LORD.1989. ERICK SAKS An extraordinary
admixture of sobering realism and fanciful invention, Saks's indictment
of toxic waste dumping, corporate greed, and America's disposable
consumer culture is described as a "remarkable, neglected" faux
documentary by critic Jonathan Rosenbaum. 83 min. AS PART OF FRAGMENTS
FROM A LOVER'S DISCOURSE Highlights from The Museum of Modern Art's
Tomorrowland: CalArts in Motion Pictures REDCAT: OCTOBER 5-8
(THURSDAY-SUNDAY)
10/6
Los Angeles, California: Redcat
http://www.redcat.org/
9:30, 631 W. 2nd St.
THREE-FIVE PEOPLE 2001
THREE-FIVE PEOPLE. 2001. LIN LI A heartbreaking portrait of
heroin-addicted, HIV-positive homeless youth in China. The director
documented these forgotten children with a hidden camera, only to have
her life threatened by the police and the underworld. 85 min as part of:
FRAGMENTS FROM A LOVER'S DISCOURSE Highlights from The Museum of Modern
Art's Tomorrowland: CalArts in Motion Pictures REDCAT: OCTOBER 5-8
(THURSDAY-SUNDAY)
10/6
Oakland, CA: Illuminated Corridor
http://www.illuminatedcorridor.com/
7:11pm, 25th Street at Broadway
ILLUMINATED CORRIDOR: MOBILITY
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. The
October 6th installation, entitled "Mobility," features the work of over
50 media and sound artists. Each will illuminate our notions of
physical, social and economic mobility in the burgeoning Northgate
neighborhood: a place of art and manufacture teetering on the borders of
Oakland's 10K Plan. Free and open to the public of all ages. Original
and treated film, performative projection with live musical soundtracks
from Big City Orchestra, Admiral Ted Brinkley (Semi-Ret.) and Hugo Ball
Room, Nicholas Chase, Sharon Cheslow and Coterie Exchange [Erika
Anderson, Ezra Buchla, George Chen, Vice Cooler, Paul Costuros, Kristy
Geschwandtner, Steve Kim, Sam Meister, Steve Touchton, Weasel Walter,
Alyssa Wilmot, et alia], Cinepimps [Alfonso Alvarez, Laurie Amat, Keith
Arnold, Lucio Menegon, Cynthia Weyukert et alia], Jen Cohen and
Guillermo Galindo, Daniel Popsicle, Lance Grabmiller, Veronica de Jesus
and Regina Clarkinia, Franz Keller, Killer Banshee, miba, Mike Missiaen,
Neshama Alma Band, Neighborhood Public Radio, Kathleen Quillian and
Gilbert Guerrero with George Chen, and we eat dots [Cecilia Elguero,
Bookworm, drslone and Brian Rogers].
10/6
Paris, France: Irit Batsry Studio
http://www.iritbatsry.com
17 h, Jeu de Paume
IRIT BATSRY : RTROSPECTIVE VIDO (SEPT22 -OCT.8)
LE JEU DE PAUME EN COLLABORATION AVEC LE FESTIVAL INTERNATIONAL DE FILMS
DE FEMMES DE CRETEIL ET DHEURE EXQUISE !, PRSENTE LA PREMIRE
RTROSPECTIVE DES VIDOS D'IRIT BATSRY. programme :
iritbatsry.com/events/JDP_Prog.htm Artiste de renomme internationale,
Irit Batsry travaille principalement la vido et les installations,
ainsi que la photographie. Ses ouvres figurent dans des collections
prestigieuses, notamment celles du MoMA et du Whitney Museum New York.
Lintgralit de ses vidos (1981-2006) est programme au Jeu de paume,
du 22 septembre au 8 octobre 2006, en prsence de l'artiste. Cette
rtrospective permettra de suivre une ouvre qui explore la mmoire
collective et personnelle, qui sonde la manire dont le rel est
reprsent et transform au travers de notre perception, par la
technologie et par notre imagination. La rtrospective se droulera en 6
programmes de projections vido et de confrences THE JEU DE PAUME
PRESENTS IRIT BATSRYS FIRST VIDEOTAPES RETROSPECTIVE ORGANIZED IN
COLLABORATION WITH THE FESTIVAL INTERNATIONAL DE FILMS DE FEMMES DE
CRETEIL AND HEURE EXQUISE ! Irit Batsry, is an artist of international
reknown working in video, installation and photography. Her work is in
prestigious institutional collections, such as those of the MoMA and the
Whitney Museum in New York and will be the subject of a video
retrospective (1981-2006) to take place at the Jeu de Paume in Paris
from September 23rd until October 8th, 2006. The artist will be present.
Irit Batsrys work evokes collective and personal memory and inquires
into the way reality is represented and transformed through our
perception, technology and imagination. The retrospective includes 6
programs of screenings and lectures: (Please note: all lectures are in
French and most videotapes are shown in their French Version). full
program : iritbatsry.com/events/JDP_Prog.htm
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SATURDAY, OCTOBER 7, 2006
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10/7
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00 pm, Chicago Filmmakers (5243 N. Clark St.)
ARGUMENT - BY ANTHONY MCCALL AND ANDREW TYNDALL
New Digital Restoration of a Rare Classic of Political Filmmaking!
Anthony McCall and Andrew Tyndall's legendary and provocative essay film
Argument (1978, 84 mins., 16mm on video) has been almost unseen for the
last twenty years. It is once again available in a new digital
restoration and its trenchant analysis of media ideology seems more
pertinent than ever. Three male voices dissect one edition of The New
York Times, revealing the prejudice and latent content of news and
advertisements, reading images as texts and presenting text as an image.
Fashion photographs are used as a starting point for a political
investigation of news, advertising, and images of masculinity - while at
the same time, the filmmakers reflect on their own position and the
possibility of radical film practice. Influenced by both the American
and European avant-gardes, notably Jean-Luc Godard and Hollis Frampton,
Argument is stylistically beautiful and relentless in its enquiry.
Anthony McCall began making performances and films in 1971 and is
internationally famous for his 'solid light' films such as Line
Describing a Cone. Andrew Tyndall is now a well-known US media
commentator, whose website The Tyndall Report (www.tyndallreport.com)
provides in-depth monitoring of television news.
10/7
Lawrence, Kansas: Open Cinema
http://opencinema.bravehost.com/
7pm, Alderson Theater, 4th Level, KU Student Union, Jayhawk Blvd.
LIGHT FROM THE UNDERGROUND
Paul Sharits - Inferential Current (1971); Harry Smith - Early
Abstractions #1-5, 7, 10 --- (1939/1956); Robert Breer - Eyewash (1959);
Hollis Frampton - Heterodyne (1967); Pat O'Neill - Saugus Series (1974);
Marie Menken - Moonplay (1966); Stan Vanderbeek - Poem Field No.2
(1966); J.J. Murphy - Ice, and Sky Blue Water Light Sign (1972)
10/7
Los Angeles, California: Redcat
http://www.redcat.org/
10:00pm, 631 W. 2nd St.
TEXTURES, PLACES, MEMORIES
TEXTURES, PLACES, MEMORIES Film Include: Departure. 2002. Danielle Ye.
Manipulated found footage of trotting pigs, nude perambulators, and
children used for target practice. 7 min. Criminal Tango. 1985. Solweig
von Kleist. Neon-drenched noir. 5 min. Leche. 1999. Naomi Uman.
Hardscrabble farm life in Mexico becomes sensuous through unique
handprocessing techniques. 30 min 91 min
10/7
Los Angeles, California: Redcat
http://www.redcat.org/
4:30pm, 631 W. 2nd St.
(POST)STUDIO ARTISTS
Student work by artists who studied in the renowned 1970s Post-Studio
Art program at CalArts. These conceptual and structuralist experiments
with Portapack video and 8mm film share "a calculated aimlessness," and
all are event-oriented investigations of language, semiotics, narrative,
and the nature of figure-ground relationships in motion pictures. Films
include: Learn Where the Meat Comes From. 1976. Suzanne Lacy. A classic
feminist video revealing the streak of Buuelian savagery underlying
television cooking shows. 14 min Some Pleasure on the Level of the
Source. 1982. Sharon Greytak. Isolated detailsa clapboard house, a red
rectangle, a girl jumping ropesuggest a narrative. 13 min. Life of
Phillis. 1979. Tony Oursier. A psychosexual soap opera Oursler performed
episodically in the CalArts lunchroom. 55 min. TRT approx. 106 min
10/7
Los Angeles, California: Redcat
http://www.redcat.org/
5:00, 631 W. 2nd St.
FUN ANIMATED CREATURES
FUN ANIMATED CREATURESThis family-oriented program features 14 short
animation piece, including early work by artists who later made their
name at Pixar and who already, as students, combined wit and visual
flair with an astounding gift for storytelling: Extra Crispy by Mark
Walsh; Winter by Pete Docter; Lady and the Lamp by John Lasseter and
Good Humor by Joe Ranft. The program also features: Toby. 1984. Gary
Conrad, Leon Joosen, Chris Sanders. A masterful film by future Disney
animators including Sanders, the writer-director of Lilo and Stitch,
about a badly drawn boy. 10 min Greener. 1993. Mark Osborne. A
mixed-animation fable by the director of Dreamworks' forthcoming Kung Fu
Panda. 11 min Papiers Anims. 1979. Paul Demeyer. A clever twist on the
flipbook by the director of Rugrats in Paris: The Movie. 4 min The
Doodlers. 1975. Kathy Rose. Miss Nose's scribbly students have a
mischievous tea party. 5 min
10/7
Los Angeles, California: Redcat
http://www.redcat.org/
7:00pm, 631 W. 2nd St.
LINES THAT DIVIDE
a.k.a. Kathe. 2000. Minda Martin. A wrenching portrait of Mexican
American Kathe Vargas, a drug-addicted prostitute murdered on the
outskirts of Tuscon, Arizona, and the perilous fate of her sisters and
son. Martin makes grievous and meaningful what would normally become
fodder for tabloid journalism. 55 min. An Injury to One. 2002. Travis
Wilkerson. On the notorious 1917 lynching of Wobbly organizer Frank
Little; the collapse of the American labor movement; and the
environmental destruction of Butte, Montana. 53 min
10/7
Los Angeles, California: Redcat
http://www.redcat.org/
7:30, 631 W. 2nd St.
WALK ON THE WILD SIDE: EXPERIMENTS IN ANIMATION
WALK ON THE WILD SIDE: EXPERIMENTS IN ANIMATION (Some Adult Content) 15
short films explore all the facets of the art of animation and take the
viewer on a walk on the wild side. Films include:Fur and Feathers. 2000.
Maria Vasilkovsky. A surrealist Slavic tango between a bird-man and a
dog-woman, animated with watercolor on glass. 5 min. Animus. 1982. Gary
Schwartz. Ingenious reworking of Edison and Muybridge films through
animation and xerography. 6 min. Commuter. 1981. Michael Patterson. This
take on rush hour in the naked city foreshadows Patterson's legendary
music video for a-ha, Take on Me. 5 min. Son of Satan. 2004. JJ Villard.
Charles Bukowski's cruel story of youth, animated with raw energy. 12
min. The Velvet Tigress. 2001. Jen Sachs. Animated documentary about the
sensationalized "Trunk Murders" trial of 1931. 11 min. Buzz Box
(Re-Mix). 1985/2006. David Daniels. The creator of Peter Gabriel's Big
Time music video updates his "insanimated" critique of American politics
and culture. 9 min TRT approx. 82 min.
10/7
NYC: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30, 32 second Ave
ESSENTIAL CINEMA DZIGA VERTOV THREE SONGS ABOUT LENIN
Dziga Vertov THREE SONGS ABOUT LENIN 1934, 59 minutes.
10/7
NYC: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00, 32 second Ave
ESSENTIAL CINEMA DZIGA VERTOV THE MAN WITH A MOVIE CAMERA
Dziga Vertov THE MAN WITH A MOVIE CAMERA 1929, 104 minutes
10/7
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
12:30pm, 165 West 65th Street, Plaza Level
THE GREAT DIVIDE
Mirror World: Abigail Child, U.S., 2006; 12m. More Than Meets The Eye:
Remaking Jane Fonda: Scott Stark, U.S., 2006; 20m. Dangerous Supplement:
Soon-Mi Yoo, Korea/U.S., 2006; 14 1/2m. The General Returns from One
Place to Another: Michael Robinson, U.S., 2006; 11m. site specific_ROMA
04: Olivo Barbieri, Italy, 2004; 12m. Sahara Mojave: Leslie Thornton,
U.S., 2006; 12m. You Don't Bring Me Flowers: Michael Robinson, U.S.,
2005; 8m. Liberte et patrie (Freedom and Homeland): Jean-Luc Godard &
Anne-Marie Miville, Switzerland, 2002; 22m
10/7
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
3:30pm, 165 West 65th Street, Plaza Level
SAUL LEVINE: NOTES FROM THE UNDERGROUND
Saul Levine in person. Restoration 16mm blows-ups of 8mm films by the
National Film Preservation Foundation, Anthology Film Archives and BB
Optics. Total running time: 58m program includes: Note to Patti: U.S.,
1969; 8m. Note to Coleen: U.S., 1974; 5m. New Left Note: U.S.,
1968-1982; 26m. The Big Stick/An Old Reel: U.S., 1967-1973; 17m. Note to
Poli" U.S., 1982-83; 2m.
10/7
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
5:30pm, 165 West 65th Street, Plaza Level
...DISSOLVES INTO AIR
The Riddle of Lumen: Stan Brakhage, U.S., 1972; 13m Academy of Motion
Picture Arts and Sciences preservation print. Between Two Deaths: Wago
Kreider, U.S., 2005; 6m. My Person in the Water: Leighton Pierce, U.S.,
2006; 5 1/2m. Cat's Cradle: Stan Brakhage, U.S., 1959; 6m AMPAS
preservation print. This and This: Vincent Grenier, U.S., 2006; 10 1/2m.
Clear Blue Sky: Tomonari Nishikawa, U.S., 2006; 4m. 0778 man.road.river:
Marcellvs l, Brazil, 2004; 9m. Film for Invisible Ink case no. 71:
Base-Plus-Fog: David Gatten, U.S., 2006; 10m. Song and Solitude:
Nathaniel Dorsky, U.S., 2006; 21m.
10/7
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
8:15pm, 165 West 65th Street, Plaza Level
KENNETH ANGER
35mm blow-up restorations by UCLA, preserved through the Avant-Garde
Masters program funded by The Film Foundation and administered by the
National Film Preservation Foundation. Total running time: 63m. program
includes: Fireworks: U.S., 1947; 15m. Rabbit's Moon: U.S.,1971; 16m.
Scorpio Rising: U.S., 1963; 29m. Kustom Kar Kommandos: U.S.,1965; 3m.
10/7
Paris, France: Irit Batsry Studio
http://www.iritbatsry.com
17 h, Jeu de Paume
IRIT BATSRY : RTROSPECTIVE VIDO (SEPT22 -OCT.8)
LE JEU DE PAUME EN COLLABORATION AVEC LE FESTIVAL INTERNATIONAL DE FILMS
DE FEMMES DE CRETEIL ET DHEURE EXQUISE !, PRSENTE LA PREMIRE
RTROSPECTIVE DES VIDOS D'IRIT BATSRY. programme :
iritbatsry.com/events/JDP_Prog.htm Artiste de renomme internationale,
Irit Batsry travaille principalement la vido et les installations,
ainsi que la photographie. Ses ouvres figurent dans des collections
prestigieuses, notamment celles du MoMA et du Whitney Museum New York.
Lintgralit de ses vidos (1981-2006) est programme au Jeu de paume,
du 22 septembre au 8 octobre 2006, en prsence de l'artiste. Cette
rtrospective permettra de suivre une ouvre qui explore la mmoire
collective et personnelle, qui sonde la manire dont le rel est
reprsent et transform au travers de notre perception, par la
technologie et par notre imagination. La rtrospective se droulera en 6
programmes de projections vido et de confrences THE JEU DE PAUME
PRESENTS IRIT BATSRYS FIRST VIDEOTAPES RETROSPECTIVE ORGANIZED IN
COLLABORATION WITH THE FESTIVAL INTERNATIONAL DE FILMS DE FEMMES DE
CRETEIL AND HEURE EXQUISE ! Irit Batsry, is an artist of international
reknown working in video, installation and photography. Her work is in
prestigious institutional collections, such as those of the MoMA and the
Whitney Museum in New York and will be the subject of a video
retrospective (1981-2006) to take place at the Jeu de Paume in Paris
from September 23rd until October 8th, 2006. The artist will be present.
Irit Batsrys work evokes collective and personal memory and inquires
into the way reality is represented and transformed through our
perception, technology and imagination. The retrospective includes 6
programs of screenings and lectures: (Please note: all lectures are in
French and most videotapes are shown in their French Version). full
program : iritbatsry.com/events/JDP_Prog.htm
10/7
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia
BRYAN BOYCES CULT JAMS + MUSIC VIDEOS +
San Francisco-based videomaker Bryan Boyce finds equal inspiration in
the absurdity of American politics and the expansive visual
possibilities of music. In this, his first major retrospective, he
introduces a playful portfolio of shorts celebrating the darkly comic
antics of the conservative media circus, as well as the ways in which
music can act as a sounding board for explorations of the image. In
addition to several premieres, the program features the Dick
Cheney-Scarface mash-up, America's Biggest Dick, George Bush's invasion
of Teletubby-land in State of the Union, and energized compositions
featuring the music of Tin Hat Trio, 20-Minute Loop, and Jondi &
Spesh. BONUS ATTRACTION! Doors open at 8pm for this pop tartist's
reception AND the concurrent launch of the new DVD, Golden Digest, from
kindred found-video pranksters Animal Charm!
10/7
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
10:00 p.m., Jackman Hall, 317 Dundas Street West (entrance off McCaul St.)
GERARD MALANGA INTRODUCES VINYL
GERARD MALANGA INTRODUCES VINYL Director: Andy Warhol. USA, 1965, 66
minutes, 16mm. Cast: Gerard Malanga, Ondine, Edie Sedgwick. The first
cinematic adaptation of Anthony Burgess's A Clockwork Orange (the
second, of course, being Kubrick's from 1971), VINYL is a raucous
sado-masochistic stageplay foreshadowing the work of Fassbinder and
Derek Jarman. Andy Warhol paid $3000 for the rights and engaged Ronald
Tavel to write a screenplay based on the novel, whose dystopian tale of
class struggle, humiliation, and crime appealed to Warhol. The result is
a desultory, stilted, and sexy dance party in which Gerard Malanga as
the thug Victor (Burgess's Alex character) does a legendary wild frug,
which became a routine spectacle at The Velvet Underground's stage
shows. The dialogue is read off cue cards as Warhol refused to let
Malanga rehearse his lines, wanting to ensure spontaneity and surprise
among the 'actors.' Featuring Edie Sedgwick's first on-screen role
(though one questions if she even knew she was being filmed). "VINYL
seems to contain all of the most riveting elements of his cinema: the
stupefied pace, the "Who, me?" homoeroticism, the beauty of the stupid
and inanimate, the overall sense of uncertainty about whether the final
product was meant to feel so fucked up" (Matthew Wilder). Ticket prices
are: Members: $6.00, Student Members: $5.50, Seniors: $5.50 Non-members:
$10.10. All Cinematheque Ontario screenings are held at the Art Gallery
of Ontario's Jackman Hall, 317 Dundas St. West, Toronto (McCaul Street
entrance). All screenings are restricted to individuals 18 years of age
or older. For more information, visit the Official website,
www.cinemathequeontario.ca, the year-round Box Office at Manulife Centre
(55 Bloor Street West, main floor, north entrance), or call
416-968-FILM.
10/7
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:00 p.m., Jackman Hall, 317 Dundas Street West (entrance off McCaul St.)
GERARD MALANGA AT CINEMATHEQUE ONTARIO
AN EVENING WITH GERARD MALANGA "Malanga's influence in the Factory was
an essential one. Not only did he assist Warhol in the business of Pop
Art works, he also introduced important members of Warhol's entourage,"
(Patrick S. Smith), including Ronald Tavel, Paul Morrissey, John Cale,
Lou Reed, and Nico. Please join us for a very rare evening with Gerard
Malanga, one of Andy Warhol's closest and most important collaborators.
Initially engaged to assist Warhol in his silk-screening, Malanga, a
budding poet at the time, became entrenched in the art-making at the
Factory, adopting numerous roles and responsibilities, from
photographer, to actor, to in-Factory poet, to filmmaker. We are
extremely excited to welcome Malanga to Toronto to read some of his
highly acclaimed poetry. This special event will be preceded by two of
Malanga's films, lyrical, and experimental works which display his
poetic sensibilities. Gerard Malanga, poet, photographer, filmmaker, was
born in 1943 and raised in the Bronx, New York, the only child of
Italian immigrant parents. He is the author of a dozen books of poetry,
including No Respect: New & Selected Poems 1964-2000 (Black Sparrow
Books, 2001), two books of photography, Good Girls (Kawade/Tokyo, 1994)
and Resistance to Memory (Arena Editions, 1998), as well as Archiving
Warhol: An Illustrated History (Creation Books, 2002), a collection of
his varied writings about, and interviews with, Andy Warhol over the
years. CANADIAN PREMIERES! IN SEARCH OF THE MIRACULOUS Director: Gerard
Malanga. USA, 1967, 29 minutes, 16mm. Cast: Benedetta Barzini, Gerard
Malanga, Luigi Barzini. With camera assistance by avant-garde greats
Warren Sonbert and Marie Menken, Gerard Malanga has created a touching,
personal, and multi-layered account of love that is part time capsule,
part loge. Malanga plays a poet searching for himself through his
affection for a beautiful woman, who in turn, must negotiate her
relationship with her father, a celebrated Italian author.
Superimposition and lyrical collage are combined to create moods that
reveal more than words. Followed by: GERARD MALANGA'S FILM NOTEBOOKS
Director: Gerard Malanga,USA, 1964-69, 27 minutes, 16mm. With: Bob
Dylan, Edie Sedgwick Salvador Dali, Jack Smith, Andy Warhol, The Velvet
Underground. GERARD MALANGA'S FILM NOTEBOOKS are just that: a record of
the artist's experiences on film. But far from an ordinary day in the
life, this documentary is comprised of exceedingly rare footage that
Malanga recorded at the Factory during its heyday of artistic production
and social happenings. These notebooks feature a young, hip Bob Dylan
posing with his signature sunglasses; Edie Sedgwick in a
pre-film/on-film make-up session; and numerous other Factory visitors
including intimate moments with Salvador Dali, Jack Smith, Donovan, Jane
Fonda and Roger Vadim, and The Velvet Underground. The sound design is
composed of excerpted tracks from the music of multi-talented
composer/poet Angus MacLise, who was the first drummer for The Velvet
Underground and studied under the legendary La Monte Young. Single
tickets are $10.25 (including GST) for Cinematheque Ontario members and
$15.50 for non-members. All Cinematheque Ontario screenings are held at
the Art Gallery of Ontario's Jackman Hall, 317 Dundas St. West, Toronto
(McCaul Street entrance). All screenings are restricted to individuals
18 years of age or older. For more information, visit the Official
website, www.cinemathequeontario.ca, the year-round Box Office at
Manulife Centre (55 Bloor Street West, main floor, north entrance), or
call 416-968-FILM.
10/7
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:00 p.m., Jackman Hall, 317 Dundas Street West (entrance off McCaul St.)
WARHOL - THE CHELSEA GIRLS AT CINEMATHEQUE ONTARIO
THE CHELSEA GIRLS- DOUBLE SCREEN PROJECTION! Director: Andy Warhol. USA,
1966, 210, minutes Double 16mm projection. Cast: Gerard Malanga, Ondine,
Nico, Marie Menken. Incendiary cinema! By turns exquisite, maddening,
thrilling and addictive, THE CHELSEA GIRLS is one of the most
extraordinary works in the history of the cinema. An unlikely critical
hit, dubbed in 1966 by Newsweek "the Iliad of the underground," Warhol's
keyhole view into The Chelsea Hotel where some of his "Superstars," Nico
among them, were permanent residents, this three-and-a-half hour, double
projection spares nothing. Its clamoring clan of divas, queens, and
hustlers play out high melodrama theatrics, which oscillate between the
phantasmagoric and the glorious, between desperation and poise, between
reality and fiction. Two of the twelve vignettes Ondine's Papal
personification and Mary Woronov's Hanoi Hannah sequence were written
by Factory scenarist Ronald Tavel, while the others were mainly
improvised. Nico's mesmerizing and bizarre primping scene (which finds
its counterparts in POOR LITTLE RICH GIRL and MY HUSTLER), is a prime
example of the film's "narcotized narcissism in full impeded, leisurely
stride" (Parker Tyler). This sultry, dgag glamour clashes with sudden
bursts of sadism in content and form, making this opus impossible to
forget. "The CHELSEA GIRLS seems to flicker not only on the edge of
seriousness and of cinema, but on the edge of existence; no work has
ever less portentously commanded us to know ourselves" (Stephen Koch).
This evening's rare presentation in double projection format is a choice
event, not to be missed. Due to the complexity and expense of this
evening's double projection, premium ticket prices are in effect: $7.25
(including GST) for seniors and members; $11.50 for non-members. All
Cinematheque Ontario screenings are held at the Art Gallery of Ontario's
Jackman Hall, 317 Dundas St. West, Toronto (McCaul Street entrance). All
screenings are restricted to individuals 18 years of age or older. For
more information, visit the Official website,
www.cinemathequeontario.ca, the year-round Box Office at Manulife Centre
(55 Bloor Street West, main floor, north entrance), or call
416-968-FILM.
-----------------------
SUNDAY, OCTOBER 8, 2006
-----------------------
10/8
Lawrence, Kansas: Open Cinema
http://opencinema.bravehost.com/
2pm, Alderson Theater, 4th Level, KU Student Union, Jayhawk Blvd.
LIGHT FROM THE UNDERGROUND
Guy Sherwin - At the Academy, Night Train, and Cycles (1972-1979); Peter
Kubelka - Arnulf Rainer, Adebar, and Schwechater (1956-60); Larry
Gottheim - Blues (1970); Malcolm Le Grice - Berlin Horse (1970); Tony
Conrad - The Flicker (1966); Standish Lawder - Raindance (1972)
10/8
Los Angeles, California: Redcat
http://www.redcat.org/
2:00pm, 631 W. 2nd St.
(RE)DISCOVERING THE WORK OF ADAM BECKETT
During his brief career, artist Adam Beckett left an indelible mark on
the world of animation and experimental film making. Films shown:
Heavy-Light (1973), Evolution of the Red Star (1973), Flesh Flows
(1974), Sausage City (1974) and Kitsch In Synch (1976). TRT approx. 90
min
10/8
NYC: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30, 32 second Ave
ESSENTIAL CINEMA DZIGA VERTOV THE ELEVENTH YEAR
Dziga Vertov THE ELEVENTH YEAR 1928, 60 minutes
10/8
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
1pm, 165 West 65th Street, Plaza Level
ABOVE AND BELOW
Silk Ties: Jim Jennings, U.S., 2006; 9 1/2m. Crossings: Robert Fenz,
U.S., 2006; 5m. Views from Home: Guy Sherwin, U.K., 2006; 12m. Block:
Emily Richardson, U.K., 2006; 11m. site specific_LAS VEGAS 05: Olivo
Barbieri, Canada/Italy, 2005; 12m. Pushcarts of eternity street: Ken
Jacobs, U.S., 2006; 10m. This Is my Heart: Edson Barrus, Brazil/France,
2004; 1m. His Eye on the Sparrow: Bruce Conner, U.S., 2006; 4 1/2m.
Threshold of Transience aka The Dike of Transience: Gulya Nemes,
Hungary, 2005; 13m. Drive-Thru: Gretchen Skogerson, U.S., 2006;19 1/2m.
10/8
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
3:30pm, 165 West 65th Street, Plaza Level
PAOLO GIOLI
Images Disturbed by an Intense Parasite (Immagini disturbate da un
intenso parassita): Italy, 1970; 45m. Traumatograph (Traumatografo):
Italy, 1973; 25m. The Perforated Operator (L'operatore perforato):
Italy, 1979; 10m. Quando l'occhio trema: Italy, 1989; 11m. Filmarilyn:
Italy, 1992; 10m.
10/8
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
6pm, 165 West 65th Street, Plaza Level
ERNIE GEHR
Serene Velocity: U.S., 1970; 23m 35mm blow-up MoMA preservation print.
Table: U.S., 1976; 16m. The Morse Code Operator (Or The Monkey Wrench):
U.S., 2006; 23m. Before the Olympics: U.S., 2006; 15m.
10/8
New York, New York: Views from the Avant Garde (NY Film Festival)
http://www.filmlinc.com/nyff/
8:30pm, 165 West 65th Street, Plaza Level
MIND AND MATTER
Reel 4 (Fountain with Black Sculptures, Heavenly Curtains, Airplanes II,
Daffodils in the River, St. Jacob's Tower, Water, Swings, Bulrushes):
Helga Fanderl, Germany/France, 2000-03; 21m. Nodes: Stan Brakhage, U.S.,
1981; 3m AMPAS preservation print. Untitled#9: Greg Sharits, U.S., 1977;
10m Anthology Film Archives preservation print. Turbulant Blue: Luther
Price, U.S., 2006; 10m. Everyday Bad Dream: Fred Worden, U.S., 2006; 6m.
Black and White Trypps #2: Ben Russell, U.S., 2006; 8m. Orbit: Kerry
Laitala, U.S., 2006; 8m. Light Work 1: Jennifer Reeves, U.S., 2006; 8m.
Transit: Greg Sharits, U.S., 1970s; 20m Anthology Film Archives
preservation print. Apparent Motion: Paul Sharits, U.S., 1975; 22m
Anthology Film Archives preservation print. They Wakened Later,
Simultaneously, Much Refreshed: Bruce McClure projection performance,
U.S., 2006; 15m.
10/8
Paris, France: Irit Batsry Studio
http://www.iritbatsry.com
17 heure, Jeu de Paume
IRIT BATSRY : RTROSPECTIVE VIDO (SEPT22 -OCT.8)
LE JEU DE PAUME EN COLLABORATION AVEC LE FESTIVAL INTERNATIONAL DE FILMS
DE FEMMES DE CRETEIL ET DHEURE EXQUISE !, PRSENTE LA PREMIRE
RTROSPECTIVE DES VIDOS D'IRIT BATSRY. programme :
iritbatsry.com/events/JDP_Prog.htm Artiste de renomme internationale,
Irit Batsry travaille principalement la vido et les installations,
ainsi que la photographie. Ses ouvres figurent dans des collections
prestigieuses, notamment celles du MoMA et du Whitney Museum New York.
Lintgralit de ses vidos (1981-2006) est programme au Jeu de paume,
du 22 septembre au 8 octobre 2006, en prsence de l'artiste. Cette
rtrospective permettra de suivre une ouvre qui explore la mmoire
collective et personnelle, qui sonde la manire dont le rel est
reprsent et transform au travers de notre perception, par la
technologie et par notre imagination. La rtrospective se droulera en 6
programmes de projections vido et de confrences THE JEU DE PAUME
PRESENTS IRIT BATSRYS FIRST VIDEOTAPES RETROSPECTIVE ORGANIZED IN
COLLABORATION WITH THE FESTIVAL INTERNATIONAL DE FILMS DE FEMMES DE
CRETEIL AND HEURE EXQUISE ! Irit Batsry, is an artist of international
reknown working in video, installation and photography. Her work is in
prestigious institutional collections, such as those of the MoMA and the
Whitney Museum in New York and will be the subject of a video
retrospective (1981-2006) to take place at the Jeu de Paume in Paris
from September 23rd until October 8th, 2006. The artist will be present.
Irit Batsrys work evokes collective and personal memory and inquires
into the way reality is represented and transformed through our
perception, technology and imagination. The retrospective includes 6
programs of screenings and lectures: (Please note: all lectures are in
French and most videotapes are shown in their French Version). full
program : iritbatsry.com/events/JDP_Prog.htm
10/8
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, YBCA, 701 Mission ST & 3rd St.
FILMS OF MARIE MENKEN
This is part of a new series: Roots, Risk and Reiteration, an
examination of Cinema's heritage and contemporary contexts. Tickets:
415-978-ARTS Films of Marie Menken Following the October 1 screening of
Kudlacek's documentary, Notes on Marie Menken, which included rare
footage of Menken and her milieu from the 50's and 60's (Warhol, Gerard
Malanga, husband Willard Maas) as well as interviews with friends and
colleagues Stan Brakhage, Jonas Mekas, Peter Kubelka, Billy Name,
Kenneth Anger, and others, Cinematheque will show on 10/8 Menken's 16mm
films. Capturing fragments of light, color and texture of the world
while becoming one with her camera, Marie Menken blazed a pioneering
trail for filmmakers to follow. Her exquisitely seen and constructed
films had no predecessor and have been declared "filmic haikus,"
revealing the intimate observations of an artist fascinated with natural
mysteries and camera-eye discoveries. Sceening includes: Andy Warhol,
Arabesque for Kenneth Anger, , Eye Music in Red Major, and more, as well
as the rarely screened Valentine for Marie by Willard Maas and John
Hawkins.
10/8
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
1:00 p.m., Jackman Hall, 317 Dundas Street West (entrance off McCaul St.)
TORONTO THEATRICAL PREMIERE OF WARHOL'S EMPIRE!
TORONTO THEATRICAL PREMIERE of EMPIRE! Director: Andy Warhol. USA, 1964,
silent, 485 minutes (16fps). It may seem a provocation to screen an
eight-hour and five-minute, static shot of a building, but to show a
severely truncated version of Warhol's most conceptual and abstract film
is to prevent the very provocation that its existence presents. EMPIRE
is a portrait in extremis of an icon and itself an icon of the
avant-garde. This notorious epic was filmed with the help of John
Palmer, Jonas Mekas, and Gerard Malanga from dusk to dawn on July 25
and 26, from the offices of the Rockefeller Foundation in the Time-Life
building on the corner of 50th and Avenue of the Americas, whose
south-facing windows lent an unobstructed view of the tallest building
in Manhattan. The film begins in a white wash, blindingly overexposed,
and as the sun sets, the image of the Empire State Building slowly
emerges as if from a romantic fog. "Apart from its phallic joke, its
play on postcards and its hilarious revision of a tradition encompassing
Monet's cathedrals and Czanne's mountains, it delivers the longest
'establishing shot' in movie history" (Paul Arthur). The exterior
floodlights come on and the tip of the tower shimmers like the spire of
the Chrysler building; the lights flicker on and off for the next six
and a half hours, in a brazen display of film's fundamental formal
properties. Finally, the floodlights are extinguished in the penultimate
reel and the remainder of the film unfolds in near complete darkness,
allowing for a sustained meditation on cinema itself, its materiality
and the status of representation. While EMPIRE has enjoyed newfound
currency within gallery and museum walls, it is rarely screened in the
cinema where its perceptual and psychological effects can be felt. It is
interesting to note that just prior to making EMPIRE Warhol had
silk-screened, as part of his "Disasters" series, the image of a woman
who threw herself from the Empire State Building, her death mask
inscribed into the limo on which she landed. Variously labeled
monumental, Duchampian, Bergsonian, transcendental, preposterous,
impossible, "EMPIRE is probably as pure and pristine a portrait of time
and light as cinema can afford" (Pacific Film Archive). Due to the
extraordinary length and cost of presenting this work, premium ticket
prices are in effect: $7.25 (including GST) for seniors and members;
$11.50 for non-members. All Cinematheque Ontario screenings are held at
the Art Gallery of Ontario's Jackman Hall, 317 Dundas St. West, Toronto
(McCaul Street entrance). All screenings are restricted to individuals
18 years of age or older. For more information, visit the Official
website, www.bell.ca/cinematheque, the year-round Box Office at Manulife
Centre (55 Bloor Street West, main floor, north entrance), or call
416-968-FILM.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.