From: Weekly Listing (email suppressed)
Date: Sat Dec 02 2006 - 14:59:37 PST
Part 2 of 2: This week [December 2 - 10, 2006] in avant garde cinema
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SATURDAY, DECEMBER 9, 2006
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12/9
Eugene, Oregon: DIVA Center
http://www.proscenia.net/diva/calendar.htm
8:00 PM, DIVA Center 110 W. Broadway
3RD ANNUAL IMMI FEST 2006
The Third Annual Festival of Improvised Music and Moving Image (IMMI
Fest) once again delights the aural and visual senses December 8th and
9th at the DIVA Center 110 W. Broadway. IMMI Fest features classic
silent film, freely improvised music and progressive video, all melded
together for maximum spontaneity and simultaneous sensory pleasure. The
festival showcases west coast musicians and media artists in an intimate
listening and viewing environment for optimal audience exposure. The
Knotty Ensemble of Vancouver, BC/ Eugene host the festival. The ensemble
features Jared Burrows - guitar, accordion, and clarinet; Rob Kohler -
bass; Sonya Lawson - viola; Daniel Heila - flute and winds, and Stan
Taylor - drums. The Knotty Ensemble is joined by The Three Pipes from
Mills College in Oakland, California. The group consists of Charity
Chan, Noah Phillips, and Jordan Glen whose work together is an evocation
of alternative timbres informed by the immediacy of physical gesture in
live performance. Trombonist Scott Thomson, a key member of the thriving
Toronto improvisation scene, will join The Three Pipes in Eugene.
Festival highlights include experimental short video works as well as
classic silent films accompanied by a live improvisation. The classic
film TABU (1931) by F. W. Murnau and Robert J. Flaherty (Nanook of the
North fame) will be screened Friday evening. On Saturday, A STORY OF
FLOATING WEEDS (1934) by Yasujiro Ozu will be featured. Both programs
begin at 8:00pm. General Admission is $5.00. Students $3.00 with School
photo I.D. For more information contact IMMI Fest Director Daniel Heila,
(address suppressed) Or, call 344-3482. Full details on the DIVA
Media Arts Calendar at www. proscenia.net/diva/calendar.htm
12/9
New York, New York: Museum of Modern Art
http://www.moma.org
2:00pm, 11 West 53rd Street
PRIX JEAN VIGO
Created in 1951 and awarded annually, the Prix Jean Vigo was established
in the name of the French filmmaker who made his indelible mark with
Zéro de conduite and L'Atalante before his death at the age of
twenty-nine. In a yearlong tribute to the award and the filmmakers it
has honored, the Department of Film presents works by past winners. All
films are in French with English subtitles, unless otherwise noted.
Organized by Véronique Godard, Prix Jean Vigo Committee; and Jytte
Jensen, Curator, and Leigh Goldstein, Executive Assistant, Department of
Film. Grateful thanks for the advice of the current Prix Jean Vigo
Committee and its President, Luce Vigo, and for the generous
collaboration of the Consulate General of France, New York; the Cultural
Services of the French Embassy, New York; and for their invaluable
support of our subtitling efforts, Titra-Film and Alex Kuczynski.
Remparts d'argile (Ramparts of Clay). 1970. France/Algeria. Directed by
Jean-Louis Bertucelli. Screenplay by Jean Duvignaud. With Leila Schenna.
A young Tunisian woman wordlessly revolts against her community. Working
from Duvignaud's book about the backbreaking labor and daily habits of a
Tunisian salt-mining community, Bertucelli filmed on location in
Tehouda, a village in southern Algeria. 87 min. Enfants des courants
d'air.1959. France. Directed by Edouard Luntz. The lonely life of a boy
living on the degraded outskirts of Paris. 24 min. Thursday, December 7,
6:30 (T1); Saturday, December 9, 2:00 (T2)
12/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30pm, 32 Second Ave. @ 2nd St.
JOAN JONAS: PORTRAIT OF THE ARTIST WITH DOG
see notes for Friday, December 8, 7pm
12/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5pm, 32 Second Ave. @ 2nd St.
ESSENTIAL CINEMA: STAN BRAKHAGE: THE PITTSBURGH TRILOGY
EYES (1970, 36 minutes, 16mm, silent) After wishing for years to be
given-the-opportunity of filming some of the more "mystical" occupations
of our Times – some of the more obscure Public Figures which the average
imagination turns into "bogeymen"... viz.: Policemen, Doctors, Soldiers,
Politicians, etc.: – I was at last permitted to ride in a Pittsburgh
police car, camera in hand, the final several days of September 1970 –
this opportunity largely due to the efforts of a Pittsburgh newspaper
photographer, Mike Chikiris – who was sympathetic to my film show at The
Carnegie Institute and responded to my wish as stated on that occasion –
therefore pleaded my "cause" eloquently with Police Inspectors of his
acquaintance: my thanks to him, to Sally Dixon of The Carnegie Institute
and to the Policemen who created the situation that made this film
possible. (S.B.); DEUS EX (1971, 34 minutes, 16mm, silent) I have been
many times very ill in hospitals; and I drew on all that experience
while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was
especially inspired by the memory of one incident in an emergency room
of San Francisco's Mission District: while waiting for medical help, I
had held myself together by reading an April-May 1965 issue of "Poetry
Magazine": and the following lines from Charles Olson's "Cole's Island"
had especially centered the experience, "touchstone" of DEUS EX, for me:
Charles begins the poem with the statement "I met Death –" And then: "He
didn't bother me, or say anything. Which is / not surprising, a person
might not, in the circumstances; / or at most a nod or something. Or
they would. But they wouldn't, / or you wouldn't think to either, / it
was Death. And / He certainly was, the moment I saw him." The film
begins with this sense of such an experience and goes on to envision the
whole battle of hospital on these grounds, thru to heart surgery seen as
equivalent to Aztec ritual sacrifice... the lengths men go to avoid so
simple and straight a relationship with Death as Charles Olson managed
on/in "Cole's Island." (S.B); THE ACT OF SEEING WITH ONE'S OWN EYES
(1971, 32 minutes, 16mm, silent) "…Stan Brakhage, entering, with his
camera, one of the forbidden, terrific locations of our culture, the
autopsy room. It is a place wherein, inversely, life is cherished, for
it exists to affirm that no one of us may die without our knowing
exactly why. All of us, in the person of the coroner, must see that, for
ourselves, with our own eyes. It is a room full of appalling particular
intimacies, the last ditch of individuation. Here our vague nightmare of
mortality acquires the names and faces of others. This last is a process
that requires a witness; and what 'idea' may finally have inserted
itself into the sensible world we can still scarcely guess, for the
camera would seem to be the perfect Eidetic Witness, staring with
perfect compassion where we can scarcely bear to glance." (Hollis
Frampton); Total running time: ca. 102 minutes.
12/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Ave. @ 2nd St.
ESSENTIAL CINEMA: STAN BRAKHAGE: TEXT OF LIGHT
THE TEXT OF LIGHT (1974, 67 minutes, silent) Brakhage's tour-de-force
exploration of refracted light in an ashtray. "All that is, is light."
–Dun Scotus Erigena
12/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7pm, 32 Second Ave. @ 2nd St.
JOAN JONAS: PORTRAIT OF THE ARTIST WITH DOG
see notes for Friday, December 8, 7pm
12/9
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia
ALFONSO ALVAREZ + OVERDUB CLUB +
With their hand-printed, toned, and processed direct-animation images
from both camera and trash bin, cinemagicians Thad Povey and recent
Phelan awardee Alfonso Alvarez bring back their wall of 16mm
projections, this time with an expanded Overdub Club line-up: Suki
O'Kane on vibes and drums joins Lucio Menegon with his electric
six-string sonics and loops. The opening set showcases the work of Bay
Area stalwart Alvarez, whose award is certainly warranted by decades of
optically-printed cine-poetry. PLUS the newest from the SFJ collective,
To the Beat. Note special admission: $6.
12/9
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
3pm, Schlossplatz 2
WILLIAM RABAN: EXPANDED CINEMA & STRUCTURAL FILM
Using film examples, William Raban will give a personal account of
EXPANDED CINEMA at the London Film-Makers' Co-operative throughout the
1970s, demonstrating how some of the multi-screen and film performance
works came into being and will describe their relationship within a
broader structural film aesthetic.
12/9
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
7pm, Schlossplatz 2
EXPANDED CINEMA: SCREENING 3
RAZOR BLADES (Paul Sharits, 1965-68, double projection, 25 mins) "By
opposing the eyes and ears against the mind, 'Razor Blades' cuts deeply,
both in our psychic and visceral bodies." #5 (Joost Rekveld, 1994,
triple projection, 6 mins) A luminescent action painting of abstract
light forms in kinetic motion. TRIAGE (Carl Brown & Michael Snow, 2004,
double projection, 30 mins) Each artist worked independently on one
panel of a double screen 'exquisite corpse'
12/9
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
8:30pm, Schlossplatz 2
EXPANDED CINEMA: BRUCE MCCLURE
McClure creates hypnotic and immersive film experiences from a minimal
quantity of audio-visual information. Loops constructed by bleaching
clear frames from opaque emulsion are manipulated live by the filmmaker,
using guitar effects pedals and adapted 16mm projectors, which have been
modified in order to vary their intensity, speed and framing. NETHERGATE
(Bruce McClure, 2006, film performance, variable duration) UNTITLED
(Bruce McClure, 2006, film performance, variable duration)
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SUNDAY, DECEMBER 10, 2006
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12/10
Los Angeles: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.
THOM ANDERSEN PRESENTS NEW VIDEO WORK BY WILLIAM E. JONES
Filmforum's continues its Celebration of its 30th Anniversary with Thom
Andersen presenting New Video work by William E. Jones Ninth in a
series! William E. Jones's new body of work was inspired by his parallel
career in the gay adult video industry. In the course of viewing
hundreds of hours of porn, he has developed a fascination with its
marginalia: establishing shots revealing urban landscapes of the recent
past, charmingly inept dialogue scenes, and close-ups of performers,
many now dead. This material, while of no particular commercial use, can
be seen as an invaluable document of a lost world of eroticism and
sociability. The show includes "v. o." (video, color, 59 minutes, 2006),
"More British Sounds" (video, color, 8 minutes, 2006), and "Film
Montages (for Peter Roehr)" (video, color, 11 minutes, 2006)
12/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 Second Ave. @ 2nd St.
JOAN JONAS: PORTRAIT OF THE ARTIST WITH DOG
see notes for Friday, December 8, 7pm
12/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30pm, 32 Second Ave. @ 2nd St.
ESSENTIAL CINEMA: ROBERT BREER
FORM PHASE I (1952); FORM PHASES II (1953); RECREATION (1956, 2
minutes); JAMESTOWN BALOOS (1957, 6 minutes); EYEWASH (1959, 3 minutes);
BLAZES (1961, 3 minutes); PAT'S BIRTHDAY (1962, 13 minutes); BREATHING
(1963, 5 minutes); FIST FIGHT (1964, 9 minutes); 66 (1966, 6 minutes);
69 (1969, 5 minutes); 70 (1971, 5 minutes); GULLS AND BUOYS (1972, 8
minutes); FUJI (1973, 9 minutes); Total running time: ca. 85 minutes.
The happy, joyful, playful abstractionist of the avant-garde. Early
works and late masterpieces.
12/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7 pm, 32 Second Ave. @ 2nd St.
JOAN JONAS: PORTRAIT OF THE ARTIST WITH DOG
see notes for Friday, December 8, 7pm
12/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Ave. @ 2nd St.
ESSENTIAL CINEMA: CONNER/CONRAD
CONNER / CONRAD Bruce Conner: A MOVIE (1958, 12 minutes) and REPORT
(1965, 13 minutes) Films by the master and poet of the collage film;
and, Tony Conrad: THE FLICKER (1966, 30 minutes, 16mm) Mathematical and
rhythmical orchestration of white and black frames. Funding for the
preservation of this film provided by The National Film Preservation
Foundation; Total running time: ca. 65 minutes.
12/10
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
3pm, Schlossplatz 2
BRUCE MCCLURE: DEMONSTRATION
Bruce McClure will discuss his work and give a practical demonstration
of his uniquely modified projectors and sound processing units.
12/10
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
7pm, Schlossplatz 2
EXPANDED CINEMA: SCREENING 4
CASTLE ONE (Malcolm Le Grice, 1966, 16mm film, 20 mins) One of the
earliest expanded works, "The Light Bulb Film" questions the role of the
spectator in film viewing experience. PROJECTION INSTRUCTIONS (Morgan
Fisher, 1976, 16mm film, 4 mins) Every film must be performed by the
projectionist. This one requires extra attention. LIGHT MUSIC (Lis
Rhodes, 1975-77, projection environment, 25 mins) A dynamic and
interactive sound and light environment in which image and sound are
inextricably linked.
12/10
Stuttgart, Germany: WKV-Stuttgart
http://www.wkv-stuttgart.de/en
8:30pm, Schlossplatz 2
TONY CONRAD: FILM PERFORMANCES
Tony Conrad presents two performances that propose alternative systems
of film production and refer back to a sequence of interventionist works
he made in the mid-1970s 'Bowed Film' combines Conrad's interests in
film and musical minimalism. For 'Sukiyaki', unexposed film strips are
stir-fried in the traditional manner prior to their unique projection.
BOWED FILM (Tony Conrad, 1974, film performance, variable duration)
SUKIYAKI (Tony Conrad, 1973, film performance, variable duration)
12/10
Valencia, California: Cal Arts
http://www.calarts.edu/
11:30 AM-1:30 PM, 24700 McBean Parkway
JAMES TENNEY ON FILM
Seven incredible films in which either James Tenney or his music
appears. Reel 5 (...). Stan Brakhage. 1998. 16mm. Cat's Cradle. Stan
Brakhage. 1959. 16mm. Fuses. Carolee Schneemann. 1964-7. 16mm. Christ
Mass Sex Dance. Stan Brakhage. 1991. 16mm. Matins. Stan Brakhage. 1988.
16mm. Desistfilm. Stan Brakhage. 1954. 16mm. Interim. Stan Brakhage.
1952. 16mm. This screening is but one component of a festival devoted to
the music of James Tenney, taking place at Calarts from Friday, December
8th to Sunday, December 10th. No admission.
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