From: weekly listing (email suppressed)
Date: Sat Nov 11 2006 - 15:23:22 PST
Part 3 of 3: This week [November 10 - 18, 2006] in avant garde cinema
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WEDNESDAY, NOVEMBER 15, 2006
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11/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm & 9:30pm, 32 Second Ave. @ 2nd St.
NY THEATRICAL PREMIERE OF ROBERT FRANK'S ME & MY BROTHER
See Nov. 10 for details.
11/15
San Francisco, California: Studio 27
http://www.studio27.org
8 p.m., 689 Bryant Street
WE ARE SO MUCH BETTER THAN THIS (PERFORMING THE TRUTH/PERUSING A LIE)
"We are So Much Better Than This" (Performing the truth/Perusing a Lie)
Video Works by Tanja Dabo, Nir Evron, Marianna Ellenberg, Oriana Fox,
Lala Rascic, Nisi Jacobs, Omer Krieger, Steve Reinke and Samuel Stevens.
Curated by Marianna Ellenberg. November 15, 8:00 PM, Admission: Free.
Studio 27, 689 Bryant Street, San Fransisco, CA. The video works in "We
are So Much Better Than This—Performing the Truth/Perusing a Lie"
subvert the symbiotic relationship between the script, the voice, its
owner, and potential embodiment. A voice may be paired with a satirical
double, as in Oriana Fox's "Consciousness, Understanding N' Trust"
(2003), or constantly fail to synchronize, as in Lala Rascic's "Sorry
Wrong Number"(2005). Hovering between abstract images and spectral
bodies, the voice is never stabilized in these works, it is either
edited to the wrong sync point or created from a falsified script. This
screening traces the breadth and variation of the video voice, including
the queering of popular Americana In Steve Reinke's "Anthology of
American Folk Song" (2004), the replaying of counter-revolutionary
voices in Hayes "SLA Screed 20" (2002) and exhausting the voice of
cultural tourism in Dabo's "Wellcomme"(2004). Omer Krieger, FLAG
(Israel, 2 min, 2003, video ) Produced by TV CHANNEL FLAG is a call for
a post-national Israel, offering up the possibility of
deterritorialization in an age of growing nationalism and religious
fundamentalism. Is the removal of the Star of David liberating or
oppressing, and are there only two ways to look at this possible future?
(-Omer Krieger, 2006) Steve Reinke, Anthology of American Folk Song
(Canada, 29 min, 2004) Another twisted Reinke journey into American
mythology and broken dreams, including masqueraded televangelists and
ingenious reconfigurations of popular melodies from JLO to Patty Smith.
Marianna Ellenberg, The Psychotrophic Alphabet From Z to Z (US, 3 min,
2004) In this mock advertisement, probing questions are culled from
psycho-pharmaceutical websites and re-edited against the passive image
of a woman endlessly drifting in a pastoral landscape. The trauma of a
televisual consciousness, and the loss of a psychological self is echoed
through the empty gaze of the patient, and the chilling authority of
'neutral' voice over. Oriana Fox Consciousness, Understanding 'N Trust
video (US/UK, 6 min, 2003) Ventriloquism, lip-synching, and
appropriation all play subversive roles in the post-feminist
retro-spoof, Consciousness, Understanding 'N Trust. In it I play a
quirky cast of characters including Betty Crocker brunettes, soap-opera
blondes, and air-head redheads as they become aware of their collective
subjugation as women. Symbionese Liberation Army (SLA) Screed No. 20
(USA,15 min, 2004) is Sharon Hayes's talking-head re-creation of a video
made by Patty Hearst and her captors after her kidnapping in 1974. She
upbraids her parents for their wealth, accuses the American government
of trying to kill her and declares solidarity with the revolution. (From
a New York Times Review, January 2006) Samuel Stevens, Esperi video (UK,
10 min, 2005) "Esperi" traces the history of Esperanto from its creation
through to it's current status within the EU parliament where it is
rivaled only by English as a bridging language between nations. Tanja
Dabo Wellcome, video (Croatia, 9 min,2004) Incessantly repeating, almost
to the point of choking, the phrase welcome in foreign languages
addressed to all potential tourists for whom the country and its
weakened economy crave. Lala Rascic, Sorry Wrong Number
(Bosnia-Herzegovina, 15 min, 2006) In this video, the artist acts out
the famous 1943 radio play, muted. The words being spoken and the
performer are purposefully out of sync, paralleling the miscommunication
present in the narrative of the play itself. Nisi Jacobs, From the
Horses Mouth (I can produce-pronounce-nuclear) video (USA,11min., 2005)
(I can produce-pronounce-nuclear) which is its generative motivating
core, an unscripted moment during Laura Bush's delivery of an entirely
scripted stand-up comedy routine at the 2005 White House Correspondent's
Dinner in Washington D.C. in which, through Freudian slip, she
substitutes 'produce' for 'pronounce'. The images contort and writhe
through visually gagging effects intensifying the already-sick toxicity
and hypocrisy which engulfs the room of 2,500 politicians, journalists,
and media 'managers' who are enjoying the manufactured wit on stage,
simultaneously implicating themselves in the nation's crimes. Nir Evron
"One Forest" 6 min, 2006 One Forest was shot in the Bialowieza forest,
which is the last remaining primeval forest, a unique ecological system
that is 8000 years old. This forest exists at the juncture between
nightmares of the past, a vision of an emmerging EU, and a limbo of a
never-ending present.
11/15
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
6:30 p.m., Art Gallery of Ontario's Jackman Hall, 317 Dundas Street West
THE FREE SCREEN - KHALO MATABANE IN PERSON!
Cinematheque Ontario presents THE FREE SCREEN (formerly The
Independents). The Free Screen is your window on the vast and rewarding,
but often overlooked, world of unconventional, non-commercial cinema -
those films and videos made by committed artists working outside of
mainstream channels of production and distribution. These artists prefer
to work free from the restrictive aesthetic conventions and commercial
concerns of the movie business, a position which allows them to explore
the possibilities of the art of cinema to the fullest. The Free Screen
presents work by artists engaged in fields ranging from avant-garde film
and animation to hybrid documentaries, essay films and video art, often
with the artists in attendance to present their work. - Chris Gehman,
Free Screen programmer. Khalo Matabane's first feature, CONVERSATIONS ON
A SUNDAY AFTERNOON, has established him as an important voice in South
African cinema with its canny combination of fictional and documentary
elements. CONVERSATIONS begins with a series of encounters in a city
park between Keniloe (Tony Kgoroge) and Fatima (Fatima Hersi), a
Somalian refugee. One day Fatima tells him her story – of the terrible
losses visited on her by war, forcing her to leave her homeland.
Inspired by their meeting, he sets out to find her again, interviewing
many fascinating characters along the way. CONVERSATIONS offers a
fascinating glimpse into a South Africa that, for all its struggles in
the post-Apartheid era, has become a refuge for exiles fleeing more
horrific struggles in places as disparate as Uganda, the former
Yugoslavia, and Palestinian refugee camps. "The African new wave is
gathering force, and Khalo Matabane is the latest to join the surge...
[his] work is intimate, political and dead smart" (Cameron Bailey,
Toronto International Film Festival). CONVERSATIONS ON A SUNDAY
AFTERNOON, Director: Khalo Matabane (South Africa, 2005, 80 minutes,
video). All screenings in this series are FREE, non-ticketed events.
Programming suggestions and submissions are welcome. 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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THURSDAY, NOVEMBER 16, 2006
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11/16
Chicago, Illinois: Conversations at the Edge
http://www.siskelfilmcenter.org/
6:00 pm, 164 N. State Street
LIGHT YEARS: THE FILMS & VIDEOS OF GUNVOR NELSON
Gunvor Nelson in person! One of the few women to emerge from San
Francisco's heady independent film scene of the 1960s, Swedish filmmaker
Gunvor Nelson has produced one of the great bodies of work in
experimental film. Her films and videos are at once intimate studies of
life's emotional landscapes and sensual explorations of image and sound,
built up through lush compositions and lyrical montages. Tonight, in a
rare North American appearance, Nelson will present the first in a
three-part overview of her work, including the Midwest premiere of her
latest video, NEW EVIDENCE (2006, 22 min.); along with her first film,
the visceral and brash SCHMEERGUNTZ (w/Dorothy Wiley, 1966, 15 min.);
the lyrical MOON'S POOL (1973, 15 min.) and the stunning collage film,
NATURAL FEATURES (1990, 16mm, 30 min.). LIGHT YEARS is co-presented by
CATE, the Film Studies Center at the University of Chicago, and Chicago
Filmmakers. Part two screens Friday, November 17 at the Film Studies
Center. Part three screens Saturday, November 18 at Chicago Filmmakers.
(1966-2006, Sweden/USA, various formats, ca. 85 min.)
11/16
Madrid: La Enana Marron
http://www.laenanamarron.org/home.htm
21.30, La Enana Marron, Sale de Cine Independiente, Travesia San Mateo 8, bajo dche, Madrid 28004
LUZ Y TIEMPO: HISTORIA PARCIAL DEL CINE EXPERIMENTAL Y VIDEOARTE
BRITANICO 1968-2006
PROGRAMME VI GLITTERBUG Derek Jarman Video, 60 min, color y b/n, 1994
11/16
New York, New York: Museum of Modern Art
http://www.moma.org
6:00pm, 11 West 53rd Street
JENNI OLSON'S THE JOY OF LIFE
The Joy of Life. 2005. USA. Directed by Jenni Olson. The landscape is
San Francisco. Light shifts across its hills and the Golden Gate Bridge.
The voice-over, by Harriet "Harry" Dodge, tells two heart-wrenching
stories: the history of the Bridge as a mecca for suicides, and the
search for love by a young woman seeking another woman. Lawrence
Ferlinghetti reads his ode to San Francisco, "The Changing Light," and
the opening and closing music is by poet and presumed Golden Gate
suicide victim Weldon Kees. Organized by Laurence Kardish, Senior
Curator, Department of Film. Courtesy Strand Releasing and Frameline. 65
min. New York premiere. Saturday, November 11, 8:00; Thursday, November
16, 6:00.
11/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm & 9:30pm, 32 Second Ave. @ 2nd St.
NY THEATRICAL PREMIERE OF ME & MY BROTHER BY ROBERT FRANK
See Nov. 10 for details.
11/16
San Francisco, California: Artists Television Access
http://www.atasite.org/
8 pm, 992 Valencia St. @ 21 St.
OPEN SCREENING AT ATA
See fresh perspectives and formula shattering techniques in film, video
and music art from the Bay Area and beyond! One hour of shorts are
accepted monthly on an open revolving basis, and the refreshments are
darn good. $4, FREE admission for exhibitors. Door, 7:30pm, Projector:
8pm
11/16
Somerville,MA: Doctor T
http://www.foryourhead.com
9 PM, PA's Lounge Union Square
DOCTOR T VIDEO IMPROVISATION
Chris Pearson, former guitarist and singer for Green Magnet School, is
playing Thursday, November 16th at PA's Lounge in beautiful Union Sq,
Somerville. Also playing will be psychedelic experimentalists Full Grown
Spiders, Energy, and The Fixations. CP is on at 10PM. Image Manipulator
Dr. T will be providing psychedelic projections and visuals for your
head. Show starts at 9PM, tickets are $7.00 for 21+, $10 for 18+ Chris
Pearson (10PM) http://www.myspace.com/chrispearsonmusic Full Grown
Spiders (11PM) http://www.myspace.com/fullgrownspiders Energy (12PM)
http://www.myspace.com/energytime Fixations (9PM)
http://www.myspace.com/fixations Dr. T http://www.foryourhead.com/
"Chris Pearson, former guitarist and vocalist for Green Magnet School,
now does solo material combining the organic with the synthetic
utilizing guitars, effects, synthesizers, and a laptop in a unique,
primitivist, post-rock style. Surprisingly loud for one person."
11/16
Syracuse, NY: Syracuse University
http://students.syr.edu/thursdayscreeners/home.html
8pm, Gifford Auditorium (H.B. Crouse Building)
TRACKS + GESTURES
Audio Visions from Up North! This program of recent experimental film &
cinematic video from Canada and Québec lays down tracks -- in snow, over
celluloid, across optical fields. Music for eye & ear (hold the
control), with tracking shots that reveal the organic thru artifice.
Painting as conceptual coordinate and point of departure, particularly
the gestural Automatism of Riopelle and black/white Borduas minimalism,
where representational abstraction flows from corporeal rhythms and
spontaneous production. We work to keep (it) warm. TRT: 65 minutes.
Films and videos by Mitchell AKIYAMA, Deco DAWSON, Ryan DIDUCK, Kelly
EGAN, Julien IDRAC, Brett KASHMERE, Karl LEMIEUX, Sheila & Nicholas PYE,
and Daichi SAITO. Curated by Brett Kashmere. More info:
http://www.m-o-s-t-r-a.com/video_dumbo/06-tracks-gestures.html
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FRIDAY, NOVEMBER 17, 2006
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11/17
Hull, United Kingdom: Hull Film
http://www.hullfilm.co.uk/
7:30pm, Hull Screen|University of Lincoln|George Street|Hull|HU1 3BW
DANCE MOVES
PLAYING IN THE LIGHT PART TWO Short Film programme Friday November 17th
7.30pm Hull Screen|University of Lincoln|George Street|Hull|HU1 3BW
"Reappropriating the body is not merely a question of choreography, of
which dance represents the maximum resistance, but also a question of
sociography, of relating to others and to the world. Otherwise it's
madness." –Paul Virilio Politics of the Very Worst Playing in the Light
is a tour of films all about the way we see. The tour's focus on ideas
of race and identity asks essential questions about the way the modern
world is framed. In cinema stripped back to gesture, rhythm and motion,
the weight of black culture, history, identity and politics are
illuminated by the lightness and possibility of performance and dance.
This specially selected sequence of artists' film, brings together some
of the very best artists, choreographers, dancers and musicians working
in this collaborative field of filmmaking. An ICO touring project
supported by the Arts Council as part of bfi's Black World initiative.
THE STATE OF THINGS Rosalind Nashashibi 2000|4'|UK A jumble sale set to
an Egyptian classic love song from the 1920s. FOUR WOMEN Julie Dash
1977|8'|US An experimental dance film that employs the use of stylised
movements and dress to express the spirit of black womanhood from an
embryonic stage in Africa, through a struggle she wages to survive in
America. DELILAH Tanya Syed 1995|11'|UK Located in the darkness, a place
of no boundaries, Delilah is a "meditation on violence", love and
survival. STRONG WOMEN Jayne Parker 2000|15'|UK Strength displayed and
strength employed: a portrait of trapeze artist Vicki Amedume. UNTITLED
John Sanborn/Mary Perillo/Bill T Jones 1989|10'|US A tribute to the life
and work of the dancer and choreographer Arnie Zane, who died of AIDS in
1988. THREE Isaac Julien 1999|15'|UK Produced in collaboration with and
featuring choreographers Bebe Miller and Ralph Lemon along with British
actress Cleo Sylvestre, Three explores aspects of desire through dance
movements and symbolically weighted images. TOTAL RUNNING TIME 65
minutes No cert
11/17
Los Angeles, California: and Los Angeles FilmForum
http://www.lafilmforum.org/
7:30 pm, 6712 Hollywood Blvd.
A CENTENNIAL PROGRAM PART I: CLAIRE PARKER
A Centennial Program honoring Two Pioneer Women Animators: Mary Ellen
Bute and Claire Parker, on the occasion of the 100th Anniversary of
their Births. Organized by Center for Visual Music (CVM) in association
with Cecile Starr and The Women's Independent Film Exchange. Presented
at Los Angeles FilmForum Nov. 17-18 (Two separate programs, 16mm). A
celebration of the lives and accomplishments of pioneer experimental
animators Mary Ellen Bute and Clare Parker, both born in 1906. Both
studied to be painters before starting their lifetime careers in film.
Both worked with their partners (Ted Nemeth and Alexandre Alexeieff) for
five decades, in New York and Paris respectively. Their films continue
to be major milestones in the history of 20th-century fine-art
animation. Programs introduced by Cindy Keefer of CVM. Part One: Friday,
Nov. 17 Program: Alexandre Alexeieff/Claire Parker short Experimental
Animation films. Featuring a series of their experimental animation
shorts (including all of their pinboard films): Night on Bald Mountain
(1933), Sleeping Beauty (1935), En Passant (1943), The Nose (1963),
Pictures at an Exhibition (1972), Three Moods (1980), a series of their
Color Commercials (1952-61), plus Alexeieff at the Pinboard (1960). The
pair created experimental animation with their pinboard (pinscreen)
invention, and their mechanized stop-motion animation techniques which
they called "Totalization." All 16mm prints, with short documentary
footage on video. Part Two, Saturday Nov 18: Mary Ellen Bute Program of
short abstract Visual Music films. For more information about the
programs, visit http://www.centerforvisualmusic.org/Events.htm Prints
courtesy Cecile Starr, The Women's Film Presevation Fund, and Yale
University Film Study Center.
11/17
Los Angeles, California: Overtones Gallery
http://www.overtones.org
7:30, 11306 Venice Blvd
WE ARE SO MUCH BETTER THAN THIS (VIDEO SCREENING)
"We are So Much Better Than This" (Performing the truth/Perusing a Lie)
Video Works by Tanja Dabo, Nir Evron, Marianna Ellenberg, Oriana Fox,
Lala Rascic, Nisi Jacobs, Omer Krieger, Steve Reinke and Samuel Stevens
Curated by Marianna Ellenberg The video works in "We are So Much Better
Than This—Performing the Truth/Perusing a Lie" subvert the symbiotic
relationship between the script, the voice, its owner, and potential
embodiment. A voice may be paired with a satirical double, as in Oriana
Fox's "Consciousness, Understanding N' Trust" (2003), or constantly fail
to synchronize, as in Lala Rascic's "Sorry Wrong Number"(2005). Hovering
between abstract images and spectral bodies, the voice is never
stabilized in these works, it is either edited to the wrong sync point
or created from a falsified script. This screening traces the breadth
and variation of the video voice, including the queering of popular
Americana In Steve Reinke's "Anthology of American Folk Song" (2004),
the replaying of counter-revolutionary voices in Hayes "SLA Screed 20"
(2002) and exhausting the voice of cultural tourism in Dabo's
"Wellcomme"(2004). Omer Krieger, FLAG (Israel, 2 min, 2003, video )
Produced by TV CHANNEL FLAG is a call for a post-national Israel,
offering up the possibility of deterritorialization in an age of growing
nationalism and religious fundamentalism. Is the removal of the Star of
David liberating or oppressing, and are there only two ways to look at
this possible future? (-Omer Krieger, 2006) Steve Reinke, Anthology of
American Folk Song (Canada, 29 min, 2004) Another twisted Reinke journey
into American mythology and broken dreams, including masqueraded
televangelists and ingenious reconfigurations of popular melodies from
JLO to Patty Smith. Marianna Ellenberg, The Psychotrophic Alphabet From
Z to Z (US, 3 min, 2004) In this mock advertisement, probing questions
are culled from psycho-pharmaceutical websites and re-edited against the
passive image of a woman endlessly drifting in a pastoral landscape. The
trauma of a televisual consciousness, and the loss of a psychological
self is echoed through the empty gaze of the patient, and the chilling
authority of 'neutral' voice over. Oriana Fox Consciousness,
Understanding 'N Trust video (US/UK, 6 min, 2003) Ventriloquism,
lip-synching, and appropriation all play subversive roles in the
post-feminist retro-spoof, Consciousness, Understanding 'N Trust. In it
I play a quirky cast of characters including Betty Crocker brunettes,
soap-opera blondes, and air-head redheads as they become aware of their
collective subjugation as women. Symbionese Liberation Army (SLA) Screed
No. 20 (USA,15 min, 2004) is Sharon Hayes's talking-head re-creation of
a video made by Patty Hearst and her captors after her kidnapping in
1974. She upbraids her parents for their wealth, accuses the American
government of trying to kill her and declares solidarity with the
revolution. (From a New York Times Review, January 2006) Samuel Stevens,
Esperi video (UK, 10 min, 2005) "Esperi" traces the history of Esperanto
from its creation through to it's current status within the EU
parliament where it is rivaled only by English as a bridging language
between nations. Tanja Dabo Wellcome, video (Croatia, 9 min,2004)
Incessantly repeating, almost to the point of choking, the phrase
welcome in foreign languages addressed to all potential tourists for
whom the country and its weakened economy crave. Lala Rascic, Sorry
Wrong Number (Bosnia-Herzegovina, 15 min, 2006) In this video, the
artist acts out the famous 1943 radio play, muted. The words being
spoken and the performer are purposefully out of sync, paralleling the
miscommunication present in the narrative of the play itself. Nisi
Jacobs, From the Horses Mouth (I can produce-pronounce-nuclear) video
(USA,11min., 2005) (I can produce-pronounce-nuclear) which is its
generative motivating core, an unscripted moment during Laura Bush's
delivery of an entirely scripted stand-up comedy routine at the 2005
White House Correspondent's Dinner in Washington D.C. in which, through
Freudian slip, she substitutes 'produce' for 'pronounce'. The images
contort and writhe through visually gagging effects intensifying the
already-sick toxicity and hypocrisy which engulfs the room of 2,500
politicians, journalists, and media 'managers' who are enjoying the
manufactured wit on stage, simultaneously implicating themselves in the
nation's crimes. Nir Evron "One Forest" 6 min, 2006 One Forest was shot
in the Bialowieza forest, which is the last remaining primeval forest, a
unique ecological system that is 8000 years old. This forest exists at
the juncture between nightmares of the past, a vision of an emmerging
EU, and a limbo of a never-ending present.
11/17
Los Angeles: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd.
A CELEBRATION OF TWO PIONEER WOMEN ANIMATORS: CLAIRE PARKER AND MARY
ELLEN BUTE
Filmforum presents a Celebration of Two Pioneer Women Animators: Claire
Parker and Mary Ellen Bute on the occasion of the 100th Anniversary of
their Births A Two-Evening celebration, organized by the Center for
Visual Music Part One: Claire Parker and Alexandre Alexeieff This
program features a series of their animated shorts including Night on
Bald Mountain (1933), En Passant (1943), The Nose (1963), Pictures at an
Exhibition (1972), and a series of their Color Commercials. The pair
created experimental animation with their pinboard (pinscreen)
invention, and their mechanized stop-motion animation techniques which
they called "Totalization." All 16mm prints. Note the change in time. $9
general; $6 students/seniors. Bute-Parker Centennial organized by Center
for Visual Music in association with Cecile Starr and The Women's
Independent Film Exchange.
11/17
Madrid: La Enana Marron
http://www.laenanamarron.org/home.htm
21.30, La Enana Marron, Sale de Cine Independiente, Travesia San Mateo 8, bajo dche, Madrid 28004
LUZ Y TIEMPO: HISTORIA PARCIAL DEL CINE EXPERIMENTAL Y VIDEOARTE
BRITANICO 1968-2006
PROGRAMME III: SHORT FILM SERIES,?Guy Sherwin,?16mm, b/n, muda, (a
selection of 3 films from the series), 7 min, 1975-2004.? BLOCK,?Emily
Richardson,?16mm, color, 11 min, 2005.? STILL LIFE,?Jenny Okun,?16mm
(negativo), muda, color, 6 min, 1976.? SURGE,?Jan Otto Ertesvag,?16mm,
color 1 min, 1996.? BERLIN HORSE,?Malcolm Le Grice,?16mm, color, 8 min,
1970.? MILK AND GLASS,?Sarah Pucill,?16mm, color, 8 min, 1993.
SPEAK,?John Latham, ?16mm, color, 11 min, 1968-69.? SAVE ME,?Stuart
Hilton,?35mm, color, 6 min, 1992.? FERMENT,?Tim Macmillan,?35mm, color,
5 min, 1999.? LOVE IS ALL,?Oliver Harrison. ?35mm, color, 4 min, 1999.
RT. 60 min
11/17
New York, New York: Images Festival
http://www.imagesfestival.com/
2000, Anthology Film Archives, 32 Second Avenue @ 2nd Street
ROBERT LEE'S MINIMA MORALIA
THE IMAGES FESTIVAL (TORONTO) AND ANTHOLOGY FILM ARCHIVES PRESENT: SIX
OF ONE, HALF-DOZEN OF THE OTHER: IMAGES FROM CANADA, PROGRAM 3 Robert
Lee's MINIMA MORALIA 2005, 85 minutes, video. Filmmaker in person! This
calendar continues the 6-month screening series of Canadian artists'
film and video organized by Anthology and The Images Festival, Toronto.
Following our successful spotlight of Philip Hoffman in September, this
season sees programs devoted to three Canadian media artists: the
well-respected Barbara Sternberg, the reinvented Robert Lee and the
emergent Leslie Peters. Each solo program will be paired with a show of
short works by artists that navigate similar conceptual terrains. Look
for our final spotlights on Richard Fung, Clive Holden and John Porter
in the winter season. On Robert Lee: A man married a two-headed lady
from the circus and went home to tell his family. His mother asked, "Is
she pretty?" and the man answered, "Yes and no." A bit of a mythic
recluse in the Canadian art scene, Robert Lee made a series of enigmatic
videos before withdrawing them (and himself) from circulation before the
turn of the millennium. Commissioned by Images and Charles Street Video
in 2005, Lee returned to view to re-edit and remake much of his existing
work, resulting in a piece that is at once a retrospective and a remix.
Drawing from material spanning fifteen years, Lee's eloquent and
enigmatic monologues will connect with all connoisseurs of life's
casually encountered profundities ¬– the sour nights when "every song on
the radio was the worst way I could think of to ask for what I did not
yet know how not to want." "His latest work presents a terrain of
revolving occurrences not unlike the architecture of sleep; not a
restful sleep but a dreaming sleep in which the brain is active and the
body paralyzed. In this somnambular viewing state, locations are
confused, stories repeat and memories shift. Cadence is measured in
pauses that Lee skillfully inserts like a seasoned comic offering the
necessary cues for the good delivery of a joke. He creates disruptions
by halting the passing of images in favour of black spaces, by
suspending the voiceover to allow for silence and by tripping our recall
through the use of familiar images. The resulting collusion of
blackouts, confusion and overlap creates crisis in the pairing of memory
and place." –Sarah Robayo Sheridan, C MAGAZINE Series made possible
thanks to the Canada Council for the Arts (Media Arts Section) and the
Canadian Consul General, New York City Special thanks to Anthology Film
Archives http://www.anthologyfilmarchives.org
11/17
San Francisco, California: Studio 27
http://studio27.org
9:00 pm, 689 Bryant Street
ABRASIONS: ARCHITECTURE AND ACCIDENT
An evening of avant-garde film, video, and discussion about the
intersection of architecture, disaster and fragmentary space. Many of
these works muse on the relationship between time and place, and
question the significance of the human hand on the landscape. Additional
pieces in the screening reveal an uncanny peek into the everyday
occupation of buildings. Films and videos by: Jay Needham, Christina
McPhee, Carl Diehl, Corner, Joe Merrell, Gustavo Almeida-Santos, Luke
Sieczek, Scott Stark, Timothy Hutchings, Dominic Angerame, David Burns,
Emil Hrvatin, Peter Senck, Tomonari Nishikawa, Karima Risk & Linda
Saveholt The artists Dominic Angerame and Tomonari Nishikawa will be
present. Admission is free!
11/17
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts
AS THE GREAT EARTH ROLLS ON
Friday, November 17 at 7:30pm California College of the Arts 1111 Eighth
Street (near Sixteenth) As The Great Earth Rolls On: A Frank O'Hara
Birthday Tribute Bill Berkson, Julian Brolaski, Dan Fisher In Person To
celebrate what would have been poet Frank O'Hara's 80th birthday, we
present a mix of film and poetry in several permutations. Poet and
essayist Bill Berkson discusses and reads from O'Hara's work. The
American Poetry Archives at SF State contributes rare footage of the
poet in his milieu. Theater director Mac McGinnes collages text from
O'Hara's plays into an alternate, subversive dialog for a scene from
Trouble in Paradise, one of O'Hara's favorite films, and Dan Fisher and
Julian Brolaski perform it live to the film. Finally we conclude with
The Last Clean Shirt, the poet's collaboration with artist Alfred
Leslie.
---------------------------
SATURDAY, NOVEMBER 18, 2006
---------------------------
11/18
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00 pm, Chicago Filmmakers (5243 N. Clark St.)
LIGHT YEARS: FILMS AND VIDEOS BY GUNVOR NELSON
Gunvor Nelson in Person! Chicago Filmmakers, in cooperation with the
Film Studies Center at the University of Chicago and the Department of
Film, Video, and New Media at the School of the Art Institute, is
extremely pleased to welcome Swedish experimental film great Gunvor
Nelson, who is on a rare and very limited North American tour. Nelson is
a pioneer avant-garde artist, one of the few women working in the heady
San Francisco experimental film scene of the 1960's. Tonight's program
features Nelson's new digital video, True to Life (2006), a journey into
plants, a confrontation between the camera (filmmaker) and a close
thriving territory, as well as a confrontation between this closeness
and abrupt distance. Also showing is her classic film Light Years
(1987): "Nelson blends collage animation with highly textured
live-action material to create a haunting evocation of her displacement
from her native Swedish culture" (Parabola). Plus: the digital video
Tree-Line (1998). Nelson is also presenting different programs of films
in the Conversations at the Edge series at the Gene Siskel Film Center
(November 16) and at the Film Studies Center at the University of
Chicago (November 17).
11/18
Los Angeles, California: Los Angeles Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd.
A CENTENNIAL PROGRAM PART II: MARY ELLEN BUTE
A Centennial Program honoring Two Pioneer Women Animators: Mary Ellen
Bute and Claire Parker, on the occasion of the 100th Anniversary of
their Births. Organized by Center for Visual Music (CVM) in association
with Cecile Starr and The Women's Independent Film Exchange. Presented
at Los Angeles FilmForum Nov. 17-18 (Two separate programs, 16mm). A
celebration of the lives and accomplishments of pioneer experimental
animators Mary Ellen Bute and Clare Parker, both born in 1906. Both
studied to be painters before starting their lifetime careers in film.
Both worked with their partners (Ted Nemeth and Alexandre Alexeieff) for
five decades, in New York and Paris respectively. Their films continue
to be major milestones in the history of 20th-century fine-art
animation. Programs introduced by Cindy Keefer of CVM. Part Two,
Saturday Nov 18, 7:30 pm: Mary Ellen Bute Program of short abstract
Visual Music films. Known for her pioneering early abstract films (some
of which were screened regularly at Radio City Music Hall, New York in
the 1930s), and one of the first film artists to use oscilloscopes, she
is also known for her collaborations with Norman McLaren and Leon
Theremin, among others. Teaming the formal rigor of Oskar Fischinger
with the zip of a Merrie Melody, Bute's Visual Music is renowned for its
brilliant use of color, light, and lyrical geometries. Bute also made a
series of Visual Music films which she called "Seeing Sound" (included
in this program). Program includes all 14 of her short abstract films,
some rarely-screened, in 16mm prints: Rhythm in Light, 1934; Synchromy
No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport
(animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947;
Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949
(RCA Commercial); Pastorale, 1950; Abstronic, 1952 and Mood Contrasts,
1953. Plus a rarely-seen brief biographical clip on video. For more
information about the films, visit
www.centerforvisualmusic.org/Events.htm and
www.centerforvisualmusic.org/Bute.htm Prints courtesy Cecile Starr, The
Women's Film Preservation Fund, and Yale University Film Study Center.
11/18
Los Angeles: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd.
A CELEBRATION OF TWO PIONEER WOMEN ANIMATORS: CLAIRE PARKER AND MARY
ELLEN BUTE
Filmforum presents a Celebration of Two Pioneer Women Animators: Claire
Parker and Mary Ellen Bute on the occasion of the 100th Anniversary of
their Births A Two-Evening celebration, organized by the Center for
Visual Music Part Two: Mary Ellen Bute A pioneer of visual music and
electronic art, Mary Ellen Bute produced over a dozen short abstract
animations between the 1930s to the 1950s. Set to classical music by the
likes of Bach, Saint-Saens or Shoshtakovich, and filled with colorful
forms, elegant design and sprightly, dance-like-rhythms, Bute's
filmmaking is at once formally rigorous and energetically high-spirited,
like a marriage of high modernism and Merrie Melodies. Note the change
in time. $9 general; $6 students/seniors. Bute-Parker Centennial
organized by Center for Visual Music in association with Cecile Starr
and The Women's Independent Film Exchange.
11/18
Madrid: La Enana Marron
http://www.laenanamarron.org/home.htm
21.30, La Enana Marron, Sale de Cine Independiente, Travesia San Mateo 8, bajo dche, Madrid 28004
LUZ Y TIEMPO: HISTORIA PARCIAL DEL CINE EXPERIMENTAL Y VIDEOARTE
BRITANICO 1968-2006
PROGRAMME I: SODASTREAM, Roderick Buchanan, Video, 1'30 min, 2001. SEA
CHANGE, Joe King y Rosie Pedlow, Video, 5'30 min, 2004. ARBITRARY LOGIC,
Malcolm Le Grice, Video, 5 min, 1987-89. HERMAPHRODITE BIKINI, Clio
Barnard, Video, 5 min, 1995. DOWNSIDE UP, Tony Hill, Video, 17 min,
1984. ALL THE TIME IN THE WORLD, Semiconductor, Video, 5 min, 2005.
BLIGHT, John Smith, Video, 14 min, color, 1994-96. RT. 54 mins
11/18
New York, New York: Museum of Modern Art
http://www.moma.org
6:30pm, 11 West 53rd Street
BLACK MARIA FILM FESTIVAL: THE LEGACY OF THE SHORT FILM
The Black Maria Film Festival was named after the American birthplace of
the motion picture-Thomas Edison's West Orange, NJ, laboratory-a
revolving photographic studio called the Black Maria because it
resembled a police paddy wagon. Over the last twenty-five years,
founding director John Columbus has overseen this alternative festival,
which embraces the diversity and passion of the cinematic short form. It
provides many directors with their earliest exhibition opportunities and
discovers avant-garde and idiosyncratic talents. The festival also
provides an important, one-of-a-kind distribution outlet for short
films, traveling each year to over seventy sites and reaching audiences
in the farthest corners of the USA and Europe. Through the years the
festival has championed cinema that resides on the margins of popular
culture and in the center of artists' imaginations. All films presented
by Columbus and the filmmakers, and from the USA, unless otherwise
noted. Please see www.moma.org for film descriptions.Organized by Sally
Berger, Assistant Curator, Department of Film and Media; with John
Columbus, Director, Black Maria Film Festival. Program 1 Three American
directors discovered in the festival's first years. Mill Hunk Herald.
1980. Tony Buba. Braddock Food Bank. 1985. Buba. Fade Out. 1998. Buba.
Secondary Currents. 1982. Peter Rose. The Man Who Could Not See Far
Enough. 1998. Rose. Sanctus. 1990. Barbara Hammer. Silent. Program 96
min. Saturday, November 18, 6:30. T2
11/18
New York, New York: Museum of Modern Art
http://www.moma.org
8:30pm, 11 West 53rd Street
BLACK MARIA FILM FESTIVAL: THE LEGACY OF THE SHORT FILM
The Black Maria Film Festival was named after the American birthplace of
the motion picture-Thomas Edison's West Orange, NJ, laboratory-a
revolving photographic studio called the Black Maria because it
resembled a police paddy wagon. Over the last twenty-five years,
founding director John Columbus has overseen this alternative festival,
which embraces the diversity and passion of the cinematic short form. It
provides many directors with their earliest exhibition opportunities and
discovers avant-garde and idiosyncratic talents. The festival also
provides an important, one-of-a-kind distribution outlet for short
films, traveling each year to over seventy sites and reaching audiences
in the farthest corners of the USA and Europe. Through the years the
festival has championed cinema that resides on the margins of popular
culture and in the center of artists' imaginations. All films presented
by Columbus and the filmmakers, and from the USA, unless otherwise
noted. Please see www.moma.org for film descriptions.Organized by Sally
Berger, Assistant Curator, Department of Film and Media; with John
Columbus, Director, Black Maria Film Festival. Program 2 Recent work by
five prolific filmmakers. Viscera. 2005. Leighton Pierce. The Future Is
behind You. 2005. Abigail Child. Phantom Limb. 2006. Jay Rosenblatt.
Ideas of Order in Cinque Terre. 2005. Ken Kobland. A Time to Die. 2005.
Joe Gibbons. Program 98 min. Saturday, November 18, 8:30. T2
11/18
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, Saturday Evening, 66 East 4th Street (Between Bowery & 2nd Avenue)
SARAH PUCILL FILM PROGRAM
Sarah Pucill lives and works in London, England. Her work is distributed
through LUX, the British Film Institute and the British Council.
Program- TAKING MY SKIN (35 min.-2006), STAGES OF MOURNING (17
min.-2004), MILK AND GLASS (10 min.-2003), YOU BE THE MOTHER (7
min.-1990) Sarah Pucill's 16mm films and photographs explore the
mirroring and merging we seek in the Other; a sense of self which is
transformative and fluid. Her work is concerned with the idea that as
subjects we are not separate. Pucill's individual cinematic language
emerged in the 1990's in the context of experimental film. Focusing on
the materiality of film and the body, she creates a vivid and unsettling
psychic world that sets up the imaginary as a potential site of
resistance. From a processed-based approach to filmmaking, Pucill
produces, directs, edits and often performs in her films, which range
from 5 to 35 minutes. Her latest work, TAKING MY SKIN (2006), a
portrayal of mother-daughter in dialogue, continues Pucill's experiments
with the collapsing of space in front of and behind the camera. "I am
not aware of you taking my skin" says the artist's mother to the camera
as it zooms in on her eye as close as the lens will allow. TAKING MY
SKIN tracks a dialogue between the artist and her mother. Sometimes the
artist is behind the camera, sometimes the mother, sometimes both
simultaneously behind and in front of neither. Both perform, film, and
alternatively instruct, position and direct the other. Formally and
thematically, the film is an exploration of closeness, of synching, and
the threat this poses to the self.
11/18
New York, New York: Images Festival
http://www.imagesfestival.com/
2000, Anthology Film Archives, 32 Second Avenue @ 2nd Street
OCELLUS, ORNAMENTATION AND DISPLAY SHORTS PROGRAMME
THE IMAGES FESTIVAL (TORONTO) AND ANTHOLOGY FILM ARCHIVES PRESENT:SIX OF
ONE, HALF-DOZEN OF THE OTHER: IMAGES FROM CANADA PROGRAM 4 OCELLUS,
ORNAMENTATION AND DISPLAY Standing before the camera performing,
gesticulating freedom…these are a series of Canadian idols. Robert
Riendeau A DREAM IN KODACHROME(2005, 4 minutes, Super-8mm) In the final
days of Kodachrome, a puppet starts to dance. (Image at left) Colin
Campbell THE WOMAN FROM MALIBU (1976, 12 minutes, video) The first in a
series of six tapes about a woman who lives in Southern California and
talks about her life and the lifestyle of Los Angeles, which she
documents in obsessive detail. This tape recounts the death of her
husband in the Himalayas. Emily Vey Duke and Cooper Battersby BEING
FUCKED UP (2001, 10 minutes, video) An episodic videotape which
incorporates simple animation and live-action sequences to create a
portrait of the artists' lives as they struggle with addiction, gender
identity and alienation. Donigan Cumming SHELTER(1999, 3 minutes, video)
A conversation about marriage and horses between two unseen men. Gary
Kibbins LIMBIC MOMENTS (2003, 20 minutes, video) Children have two
desires: they want to be loved, and they want to be free. LIMBIC MOMENTS
separates the two, focusing on the latter. In dialogue with experimental
and ethnographic film, LIMBIC MOMENTS constructs an unsettling image of
the child as the "destructive character," with no interest in being
understood. Steve Reinke ANAL MASTURBATION + OBJECT LOSS(2001, 6
minutes, video) The artist decides to found his own art school and
begins by assembling materials for the library. Finding too many words
are available, he glues together the unnecessary pages of books. Barry
Doupé A BOY ON A DOCK BLOWING HIS NOSE(2005, 15 minutes, video) A lusty
series of vaguely articulated, quasi-human doodles and Spirographs
animated within a bizarre netherworld of its own humid imagination. Tom
Sherman GANNETT BURIAL (1999, 4.5 minutes, video) A burial at sea (with
video noise). Series made possible thanks to the Canada Council for the
Arts (Media Arts Section) and the Canadian Consul General, New York City
Special thanks to Anthology Film Archives
http://www.anthologyfilmarchives.org
11/18
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6pm, 32 Second Ave @ 2nd St.
ESSENTIAL CINEMA: STAN BRAKHAGE
Films by BRAKHAGE: ANTICIPATION OF THE NIGHT (1958, 40 minutes) SHORT
FILMS 1975 #1-10 (1975, 38 minutes) With ANTICIPATION OF THE NIGHT,
Brakhage leaves psychodrama and enters the "closed-eye vision" period.
This program also contains a unique example of a film made without a
camera. SHORT FILMS 1975 was recently preserved by Anthology, with
special thanks to Sonic Youth and Marilyn Brakhage.
11/18
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia
SKOLLER ON HONG + BLOCKADE +
UCB film critic Jeffrey Skoller, personally explicates the major
insights of his new book Shadows, Specters, Shards: Making History in
Avant-Garde Film. He mobilizes critical concepts to frame a discussion
about four movies—all premieres!—that narrate mid-20th century history
through novel cinematic forms. Defending his 20-min. The De-Nazification
of MH, James Hong will touch on issues of historical revisionism and
political agency. Visiting from Berlin, Sylvia Schedelbauer also
demonstrates, in her own way, a decidedly personal approach to
historiography in the instance of her Memories, a stark encounter with
her own family's post-war story. Hito Steyerl's November traces the
radical passage of feminist filmmaker to Kurdish martyr. Grounding the
program is Sergei Loznitza's truly chilling Blockade, a 50-min.
war-footage compilation from the siege of Leningrad, uncannily
materialized as living experience through a tour-de-force Foley
strategy.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.