From: Weekly Listing (email suppressed)
Date: Sat Apr 07 2007 - 08:31:33 PDT
This week [April 7 - 15, 2007] in avant garde cinema
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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: NON-FEATURE:
===========================
"Herna" by craig nugent
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=293.ann
"Choking Your Chicken Helps Reduce Stress" by Mike Celona
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=292.ann
MISCELLANEOUS:
=============
School of Creative Media of City University of Hong Kong invites application
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=91.ann
SERVICES:
========
Sound Design, Original scores, Mix and Editing
http://www.hi-beam.net/cgi-bin/ann.pl?type=services&readfile=93.ann
NEW CALLS FOR ENTRIES:
=====================
14th Chicago Underground Film Festival (Chicago, IL 60647; Deadline: May 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=716.ann
Yaitrei ß (England U.K.; Deadline: April 09, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=717.ann
National Museum of Women in the Arts 20th Anniversary Festival of Film & Media Arts (Washington, DC, USA; Deadline: May 04, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=718.ann
Emotion Pictures (Athens, Greece; Deadline: April 30, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=719.ann
Experimental Film and Video Festival in Seoul (Seoul, Korea; Deadline: May 05, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=720.ann
Filming Music Festival (Paris; Deadline: April 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=721.ann
Extremely Shorts 10 (Houston; Deadline: May 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=722.ann
DEADLINES APPROACHING:
======================
3rd Annual Flatland Film Festival (Lubbock, TX USA; Deadline: April 21, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=667.ann
25 FPS Festival (Zagreb, Croatia; Deadline: April 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=671.ann
19th Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 13, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=682.ann
Milwaukee International Film Festival (Milwaukee, WI USA; Deadline: April 23, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=688.ann
Compass International Film Festival (Bristol, UK; Deadline: April 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=689.ann
ARTDISK, DVD Magazine (Chicago, IL, USA; Deadline: April 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=695.ann
Moves07 (Manchester, UK; Deadline: May 04, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=707.ann
Milwaukee Underground Film Festival (Milwaukee, WI, USA; Deadline: April 12, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=712.ann
Zeitgeist Int'l Film Festival (San Francisco, Ca USA; Deadline: April 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=714.ann
14th Chicago Underground Film Festival (Chicago, IL 60647; Deadline: May 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=716.ann
Yaitrei ß (England U.K.; Deadline: April 09, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=717.ann
National Museum of Women in the Arts 20th Anniversary Festival of Film & Media Arts (Washington, DC, USA; Deadline: May 04, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=718.ann
Emotion Pictures (Athens, Greece; Deadline: April 30, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=719.ann
Experimental Film and Video Festival in Seoul (Seoul, Korea; Deadline: May 05, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=720.ann
Filming Music Festival (Paris; Deadline: April 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=721.ann
Extremely Shorts 10 (Houston; Deadline: May 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=722.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Collective For Living Cinema Program 2 [April 7, New York, New York]
* Brecke On Darfur + Martinez On Iraq [April 7, San Francisco, California]
* Program 3 [April 8, New York, New York]
* Collective: Program 4 [April 8, New York, New York]
* Cinnamon [April 9, Los Angeles, California]
* Entomelodical Opportunity: An Evening of Film, Insects, Fables and
Electronic Moodscapes From Irene Moon and Marcia Bassett [April 9, New York, New York]
* Frame By Frame: Avant-Garde Film Preservation [April 10, Berkeley, California]
* Frame By Frame: Avant-Garde Film Preservation [April 10, Berkeley, California]
* Jennifer Montgomery: Notes On the Death of Kodachrome [April 12, Chicago, Illinois]
* Kill Your Timid Notion [April 12, Dundee, Scotland]
* Cold Hearts Revisited: New Icelandic Film and video [April 12, New York, New York]
* Electromediascope [April 13, Kansas City, Missouri]
* Zorns Lemma & Hapax Legomena I [April 13, New York, New York]
* Fetish Films #1: "Celluloid Scopophilia: Sensual Dimensions of the Human
Body" [April 13, San Francisco, California]
* Dis-Oriented: Hong + Chen + Ligon [April 14, San Francisco, California]
* New England Filmmakers See In the Dark [April 15, Cambridge, Massachusetts]
* Ken Jacobs, Jean Epstein & Dwinell Grant Shorts [April 15, New York, New York]
Events are sorted by CITY within each DATE.
-----------------------
SATURDAY, APRIL 7, 2007
-----------------------
4/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
COLLECTIVE FOR LIVING CINEMA PROGRAM 2
PROGRAM 2: DOUBLE FEATURE AND MORE!. This double bill is not unlike what
one would have seen at the COLLECTIVE on any given night. In addition to
these two feature film presentations we will be including a selection of
shorts by the magnificent filmmaker/performer Stuart Sherman. . H.C.
Potter. HELLZAPOPPIN'. 1941, 84 minutes, 16mm, b&w. With Ole Olsen, Chic
Johnson, Mischa Auer, Shemp Howard, and Elisha Cook Jr. "Rarely shown in
the U.S. these days, this 1941 film of the wildly deconstructive stage
farce with Ole Olsen and Chic Johnson is still regarded as a classic in
Europe, and it lives up to its reputation. The credit sequence
establishes the wartime mood with its vision of hell as a munitions
factory (where demons preside over the packaging of . Canned Guy and
Canned Gal), which is shortly revealed as a movie soundstage, the first
of many metafictional gags. Very belatedly the movie gets around to
telling a spare musical-comedy story (with swell numbers by Martha Raye
and the jazz duo of Slim Gaillard and 'Slam' Stewart, and some very
acrobatic jitterbugging), but the main bill of fare is manic nonsense
that almost makes the Marx Brothers look sober." -Jonathan Rosenbaum,
CHICAGO READER. &. Sidney M. Goldin. HIS WIFE'S LOVER / ZAYN VAYBS
LUBOVNIK. 1931, 80 min, 16mm, b&w. In Yiddish w/ English subtitles.
Based on a Yiddish stage hit and billed as the "first Jewish musical
comedy talking picture," HIS WIFE'S LOVER reverses roles and twists love
triangles as if reincarnating Moličre at the corner of Orchard
and Rivington. Made at the height of the Depression, this fast-paced,
song-filled farce benefits from location camerawork, fine acting and
inspired singing as it contrasts the desperate, crowded sweatshop with
idle luxury. When handsome actor Eddie Wien decides to marry, his uncle
(and backer) Oscar advises Eddie that all women are looking for is a fat
pocketbook, and the two make a bet to see if Oscar's right. But
surprises confront this devilish pair as their poor target Golde
Blumberg struggles to separate her feelings from her scruples. .
4/7
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
BRECKE ON DARFUR + MARTINEZ ON IRAQ
Globe-trotting photog Mark Brecke walks us through his work-in-progress,
They Turned Our Desert into Fire, framed by a pair of '06 journeys:
First, to Western Sudan to retrieve images of the human calamity there;
on the second sojourn, Brecke brought his prints for an installation to
the US Capitol by way of a cross-country Amtrak train, sharing the
depicted stories with fellow passengers. During the same period,
compatriot freelancer David Martinez, also locally based, was circling
through the war-scarred streets and countryside of Iraq on his own
journalistic quest. In the show's second half, Martinez introduces and
answers questions about the personal documentary that resulted from his
gutsy junkets, 500 Miles to Babylon: A Film about Iraq under US
Occupation. A portion of the proceeds go to Doctors Without Borders. $7.
---------------------
SUNDAY, APRIL 8, 2007
---------------------
4/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Avenue (at Second Street)
PROGRAM 3
Ester Shatavsky BEDTIME STORY (1981, 6 minutes, 16mm, silent) . Bette
Gordon EXCHANGES (1979, 15 minutes, 16mm, sound) . Martha Haslanger
FRAMES AND CAGES AND SPEECHES (1976, 13 minutes, 16mm, sound) . Jim
Jennings EDGE (1972, 6 minutes, 16mm, silent) . Jim Hoberman MISSION TO
MONGO (1977/78, 3.5 minutes, 16mm, sound) . Charles Wright SORTED
DETAILS (1979, 12.5 minutes, 16mm, sound) . Vincent Grenier TREMORS
(1984, 13 minutes, 16mm, sound) . Abigail Child PREFACES IS THIS WHAT
YOU WERE BORN FOR? (PART 1) (1981, 9.5 minutes, 16mm, sound). Total
running time: ca. 80 minutes.
4/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
COLLECTIVE: PROGRAM 4
Peggy Ahwesh FROM ROMANCE TO RITUAL (1985, 21 minutes, Super-8, sound) .
Joe Gibbons WELTSCHMERTZ (1979, 15 minutes, Super-8 on VHS, sound) .
Marjorie Keller THE FALLEN WORLD (1983, 9.5 minutes, 16mm, sound) . Saul
Levine TIME TO GO TO WORK (1978, 10.5 minutes, 16mm, sound) . Bob
Fleischner MAX'S SHIRT (1975, 5 minutes, 16mm, silent) . Holly Fisher
THIS IS MONTAGE (1978, 7 minutes, 16mm, silent). Henry Hills MONEY
(1985, 14.5 minutes, 16mm, sound). Total running time: ca. 85 minutes.
---------------------
MONDAY, APRIL 9, 2007
---------------------
4/9
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd st
CINNAMON
Los Angeles premiere USA, 2006, 71 min., color and b/w, Beta SP
Documentary footage and conventionally scripted narrative alternate in
this engrossing and lush portrait of African American drag racing as
Kevin Jerome Everson lovingly tracks the meticulous routine kept by
Erin, a mortgage loan officer who races on weekends, and John, her ace
mechanic and coach. An ode to the beauty of repetition as much as to the
thrill of automobile and racetrack, Cinnamon is also an intimate
celebration of African American craft. In person: Kevin Jerome Everson
$6 Student with Valid ID $8 General
4/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
ENTOMELODICAL OPPORTUNITY: AN EVENING OF FILM, INSECTS, FABLES AND
ELECTRONIC MOODSCAPES FROM IRENE MOON AND MARCIA BASSETT
Anthology is proud to present the provocative pairing of Performance
Artist/Entomologist Irene Moon and musician Marcia Bassett for a
multi-media evening of audio-visual exploration and excavation. Moon has
been creating music, film and musical lectures since the mid-90s and
received a Masters degree in Insect Systematics and Evolution from the
University of Kentucky in 2004. Her brilliant SCIENTIFICALLY SPEAKING
lectures are head-scratching combinations of completely factual
information with neo-Dada homemade New Wave music, insect sound samples,
microphotography, animations and so much more. Bassett is best known for
her intensely sonic work with the likes of Double Leopards and
Hototogisu, but tonight will be appearing under the moniker Zaďmph.
Her sets verge on the ritualistic as the room is turned into a swirling
vortex of energy with mirage-like guitar, fried electronics and
disembodied vocals. This program will include live performances by both
artists as well as a number of rather disturbed short videos by Moon and
her touring theater company, the Auk Theatre. It should be quite an
evening…. Program includes: TERRORISTIC ENTOMOLOGY SUPER 8 SERIES. Early
films from Moon with soundtracks created from field recordings of
insects and machines commonly found in a laboratory environment. FILMS
OF THE AUK THEATRE. Short 'plays' that create modern fables. The Auk
Theatre is a touring theater that performs absurd, classical and heavily
stylized theater in rock clubs and music venues. All of the short Auk
plays are from 2004-2005. COURT OF COMMON PLEAS. 2005, 17 minutes, DV.
Music: Hototogisu (Marcia Bassett and Matthew Bower). Animation: Irene
Moon/Auk Theatre. A psychedelic story of mystical transformation. More
information about Irene Moon and Auk Theatre can be found at
www.begoniasociety.org.
-----------------------
TUESDAY, APRIL 10, 2007
-----------------------
4/10
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
6:00PM, 2575 Bancroft Ave. (at Bowditch)
FRAME BY FRAME: AVANT-GARDE FILM PRESERVATION
A Self-Preservation Workshop for Film and Video Makers Presentation and
Booksigning by Bill Brand Artist and preservationist Brand will talk
about how artists can implement simple steps to take better archival
care of their films and videos. Anthology Film Archives' Results You
Can't Refuse: Celebrating 30 Years of BB Optics, edited by Andrew
Lampert, which includes an article by Brand, is available in the Museum
Store; Purchase a copy at the workshop and receive a 10 percent
discount!
4/10
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30PM, 2575 Bancroft Ave. (at Bowditch)
FRAME BY FRAME: AVANT-GARDE FILM PRESERVATION
BB Optics: Optical Printing and Preservation Work Bill Brand in Person
Brand presents a wide range of works preserved or printed by his firm,
BB Optics, including avant-garde pieces and films confiscated from the
Nixon White House by the FBI. Program includes: New Left Note (Saul
Levine, 1968/82). Nixon White House Super-8 Films (Reel S-10) (1969–73).
The Fallen World (Marjorie Keller, 1983). Fire in My Belly (David
Wojnarowicz, 1986–87). Home Avenue (Jennifer Montgomery, 1989). Black
and White Film (Robert Huot, 1968–69). Daffodils (Katy Martin, 1979/81)
------------------------
THURSDAY, APRIL 12, 2007
------------------------
4/12
Chicago, Illinois: Conversations at the Edge
http://www.siskelfilmcenter.org/
6 pm, 164 N. State St.
JENNIFER MONTGOMERY: NOTES ON THE DEATH OF KODACHROME
JENNIFER MONTGOMERY IN PERSON! At its start, NOTES ON THE DEATH OF
KODACHROME pretends to be about the discontinuation of the much-beloved
Super-8 film stock, Kodachrome, and with it, the possible demise of
small-gauge filmmaking. The premise is simple: director Jennifer
Montgomery tracks down three old friends--the writer Joe Westmoreland
and directors Lisa Cholodenko and Todd Haynes--who once borrowed but
never returned her Super-8 equipment. As each encounter unfolds, the
film reveals new layers and its true subjects: the political character
of filmmaking, the nature of friendship, and personal reckoning. With
Montgomery's 1990 Super-8 film, AGE 12: LOVE WITH A LITTLE L.
(1990-2006, Jennifer Montgomery, USA, various formats, ca. 80 min).
4/12
Dundee, Scotland: arika
http://www.arika.org.uk
all day, Dundee Contemporary Arts
KILL YOUR TIMID NOTION
Kill Your Timid Notion 12-15th April DCA, Dundee, Scotland
http://www.arika.org.uk KYTN is a festival of sound and image, exploring
as many different ways in which artists, filmmakers and musicians can
investigate the border between what you hear and what you see. And in
particular, it looks at the margins, at the leading edge of creativity
where people test out and cross the boundaries of what has been done
before, and define them anew for themselves: after all, doesn't the
notion of a boundary presuppose something beyond it; isn't transgression
exciting? PERFORMANCES CUBE (Etienne Caire, Gaelle Rouard, Christophe
Cardoen, Christophe Auger, Xavier Querel, Jerome Noetinger, Lionel
Marchetti) WILLIAM RABAN KEITH EVANS + LOREN CHASSE JOE COLLEY ANDREW
LAMBERT (with STEVE BERESFORD, OKKYUNG LEE + MARK SANDERS) KANTA HORIO
KEN JACOBS & ERIC LA CASA GREG POPE & NORBERT MOSLANG (with Christophe
Cardoen, Christophe Auger, Xavier Querel) AVVA: Billy Roisz and Toshi
Nakamura LEVOX (eriKm, Etienne Caire, Gaelle Rouard) INSTALLATIONS
ARTIFICIEL: Beyond 6281 BARRY WEISBLAT: Chord of the Fifth Force TALKS
Get enlightened (or confused) about work at the festival with a series
of talks hosted by the Wire. FILM PROGRAMME eight programmes of light as
music, film as sound from artists including: Saturday 14 – Cinema 1
13:00 Film Programme 1: In & Out I am Going, Józef Robakowski, Poland,
1973 Daybreak Express, D A Pennebaker, USA, 1953 Block, Emily
Richardson, UK, 2005 La-Lu, Józef Robakowski, Poland, 1985 Views from
Home, Guy Sherwin, UK, 1987-2005 Radar, Volker Schreiner, Germany, 2006
Pioneer, James Beckett, The Netherlands, 2003 Counter, Volker Schreiner,
Germany, 2004 Roomtone #1, Mark Slankard, USA, 2003 14:20 Film Programme
2: Humans Britton, South Dakota, Vanessa Renwick, USA, 2004 The Coming
Race, Ben Rivers, UK, 2007 The Girl Chewing Gum, John Smith, UK, 1976
The Market, Józef Robakowski, Poland, 1970 Capitalism: Child Labor, Ken
Jacobs, USA, 2007 Black and White Trypps Number Three, Ben Russell, USA,
2007 15:45 Film: Hope & Prey, Vanessa Renwick, USA, 2005, 23 mins 16:30
Film Programme 3: Earth Brilliant Noise, Semiconductor, UK, 2006 Le
Petit Mort, Damir Cucic, Croatia, 2007 Rust to Dust, Ian Helliwell, UK,
2006 Pulse, Pink Twins, Finland, 2006 U, Vesa Puhakka, Finland, 2003
Acoustic Apple, Józef Robakowski, Poland, 1994 What the Water Said no.
4-6, David Gatten, USA, 2006 You Don't Bring Me Flowers, Michael
Robinson, USA, 2006 Skull and Blackberries, Eric Ostrowki, USA, 2006
Sunday 15 – Cinema 1 13:00 Film Programme 4: Beyond Image a1b2c3,
Norbert Pfaffenbichler & Lotte Schreiber, Austria, 2006 Matrix III, John
Whitney, USA, 1972 Lines Horizontal, Norman McLaren & Evelyn Lambart,
Canada, 1962 Beyond Image, The Sensual Laboratory, UK, 1969 Kyldex
Projections, Nicolas Schoffer, Hungary, 1973 FBCK/AV - Red Flag, Bas van
Koolwijk, The Netherlands, 2005 Hello Again, Michaela Grill, Austria,
2006 Attention: Light, Józef Robakowski & Wieslaw Michalak, Poland, 2004
14:20 Film Programme 5: Word Money, Emma Hart, UK, 2006 Oscillation,
Simo Rouhiainen, Finland, 2006 Gertrude Stein Film, William Moritz, USA,
1969 Poemfield No 2, Stan Vanderbeek, USA, 1966 Secondary Currents,
Peter Rose, USA, 1982 Word Movie, Paul Sharits, USA, 1966 Mile End
Purgatorio, Guy Sherwin, UK, 1991 Associations, John Smith, UK, 1975
Newsprint, Guy Sherwin, UK, 1972 15:40 Lost Sound, Graeme Miller & John
Smith, UK, 2001, 28 mins 16:30 Film Programme 6: Contrast Tile 11 of 16:
space "trial and error in urban development", Mike Shiflet, Lori Felker,
USA, 2005 Ersaztitel, Jens Rudolph, Germany, 2005 ORDER-RE-ORDER,
Barbara Doser & Hofstetter Kurt, Austria, 2006 void.seqz 3, n:ja &
Dariusz Kowalski, Austria, 2005 Moment Musical, Bruce Checefsky, UK,
2006 modal.patterns_txt/anagram 0.02, Andrés Ramírez Gaviria,
Switzerland, 2006 The Eye and the Ear, Franciska & Stefan Themerson,
UK,1944-45 Test 1, Józef Robakowski, Poland, 1971 Cycles 3, Guy Sherwin,
UK, 1972/2003
4/12
New York, New York: Scandinavia House
http://www.scandinaviahouse.org
7:30pm, 58 Park Ave btwn 37th and 38th Streets
COLD HEARTS REVISITED: NEW ICELANDIC FILM AND VIDEO
With their follow-up to 2006's "Cold Hearts," a video exploration of the
cinematic and musical output of young Iceland, the Package Deals
curatorial team presents a fresh batch of the best in new short films
and music videos from the vibrant Icelandic creative community with
"Cold Hearts Revisited." From irreverent faux pop songs and edible
instruments to escapist fantasies and unorthodox quests, the program of
twelve rarely-seen films (many of which have never screened before in
the U.S.) encapsulates all that is enchanting and inventive about this
small island nation. Featuring Isold Uggadóttir's short "Family Reunion"
(fresh from Sundance!) and films by Sigur Ros, Bang Gang, GusGus, Egill
Sćbjörnsson, Apparat Organ Quartet, Trabant, Unnur Andrea Einarsdóttir,
Erla Haraldsdóttir, Kyja Kristjansson-Nelson, Reynir Lyngdal, and Leaves
Q&A with Uggadóttir and reception to follow. For more info, visit
www.packagedeals.org
----------------------
FRIDAY, APRIL 13, 2007
----------------------
4/13
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., 4525 Oak Street
ELECTROMEDIASCOPE
Being There: Experiencing Place and Non-place. Cinema, video,
installation art and new media all involve different relationships
between place and non-place. In the past most people's sense of place
and personal space was defined in terms of location, residence and
cultural traditions. Our contemporary sense of place now also includes
non-places such as airports, shopping malls, interstate highway networks
and the Internet. These non-places are familiar discontinuous scenes
marked by experiences of waiting and transition that incorporate
distancing effects of incongruity and repetition. Some of the works in
Being There emphasize place while others survey conditions of both place
and non-place. Several artists employ long constant shots, silence and
ambient sound while exploring different experiences of seeing, knowing
and immersion in relation to nature, territory and cultural space. Some
works have as much in common with photography and painting as with
filmmakng and video in that it is possible for the viewer to control and
spatialize the temporal experience while breaking through media
conditioning involving our expectations of conventional narrative
continuity and timing. These works involve exceptional ways of seeing
and revealing that which may have been unrecognizable, lost or
concealed. Some places are discovered through close observation and
spending enough time to pass through the stereotypical spectacle of
place in order to get in touch with a more expansive sensory awareness
and palpable sense of presence. Other works perform defamiliarizing,
ironic or humorous manipulations of the frame of reference that disturb
the natural, and by establishing artificial or constructed perceptions,
make it possible to actually get closer to what these places are about.
All of the works challenge what we think we know or recognize about the
geophysical, institutional and cultural aspects of particular places, so
that it is possible to experience them from fresh perspectives. –
Patrick Clancy. Skagafjordur, Peter Hutton (USA), 2004, 33 min.,16mm
film. Palast, Tacita Dean (UK), 2004, 10:30 min., 16mm film. Nocturne,
Emily Richardson (UK), 2002, 4:56 min., 16mm film shown on video. 1.1
Acre Flat Screen, eteam [Franziska Lamprecht (Germany) and Hajoe
Moderegger (Germany)], 2004, 45:05 min., video. Program continues April
20 and 27.
4/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
ZORNS LEMMA & HAPAX LEGOMENA I
Dir: Hollis Frampton. ZORNS LEMMA. 1970, 60 minutes, 16mm, color, sound.
. "A major poetic work. Created and put together by a very clear
eye-head, this original and complex abstract work moves beyond the
letters of the alphabet, beyond words and beyond Freud. If you don't
understand it the first time you see it, don't despair, see it again!
When you finally 'get it,' a small light, possibly a candle, will light
itself inside your forehead." -Ernie Gehr. HAPAX LEGOMENA I:
(nostalgia). 1971, 36 minutes, 16mm, b&w, sound. . "NOSTALGIA, beginning
as an ironic look upon a personal past, creates its own filmic time, a
past and future generated by the expectations elicited by its basic
disjunctive strategy." -Annette Michelson. "In NOSTALGIA the time it
takes for a photograph to burn (and thus confirm its two-dimensionality)
becomes the clock within the film, while Frampton plays the critic,
asynchronously glossing, explicating, narrating, mythologizing his
earlier art, and his earlier life, as he commits them both to the fire
of a labyrinthine structure; for Borges too was one of his earlier
masters, and he grins behind the facades of logic, mathematics, and
physical demonstrations which are the formal metaphors for most of
Frampton's films." -P. Adams Sitney. .
4/13
San Francisco, California: Oddball Films
http://www.oddballfilm.com
8:30 PM, 275 Capp Street
FETISH FILMS #1: "CELLULOID SCOPOPHILIA: SENSUAL DIMENSIONS OF THE HUMAN
BODY"
On Friday, April 13th at 8:00PM Oddball Films presents Fetish Films #1:
"Celluloid Scopophilia: Sensual Dimensions of the Human Body", the first
in a series of film programs examining the fetishization of the human
body. The program is curated by Oddball Films Director Stephen Parr and
filmmaker/cinema historian Kerry Laitala. All films will be screened in
16mm film. Admission is $10.00. Seating is limited. RSVP is essential.
Oddball Films is located at 275 Capp Street, San Francisco. "Celluloid
Scopophilia" is a cinema program inspired by the writings of Wilhelm
Stekel, author and contemporary of Sigmund Freud who postulated that all
fetishes are a regressive form of Infantilism. In his books "Sadism and
Masochism" and "Patterns of Psychosexual Infantilism", Stekel presents
many case studies of paraphilias and their causes. This program
investigates this and includes rare medical films such as "Pain and Its
Alleviation" (Color, 1961) and Oral Hygiene films such as the
Technicolor Danish, English co-production "Es Leight Ans Dir"(1951),
later dubbed in German (1951), industrial First aid films such as
"Shock" and "Breathing For Others"(1955), and underground foot fetish
films. The program will conclude with the viscerally compelling
"Hallowed" (2001), a hand-made film by Laitala, a filmmaker and long
time collector of obscure and disturbing medical and industrial films
comments on "Celluloid Scopophilia": "The program treads the lines
between visual pleasure and pain in the context of Scopophila, (the
pleasure of looking). Through the camera's gaze, the pleasure imparted
by the extraction and isolation of body parts is explored and dwelled
upon, sucking the viewer into this seductive, unseemly form of cinema"
says Laitala. "We have sequenced the program to make the resonance
between the films vibrate with a pervy frequency". Together with
Laitala's films and a treasure trove of unseen and recently unearthed
medical films Oddball Films Director Stephen Parr has obtained
"Celluloid Scopophilia: Sensual Dimensions of the Human Body" promises
to be a disturbing, darkly humorous and ultimately fascinating look at
the human body in all its fetishistic glory. For further information,
still images and interviews contact Stephen Parr at 415.558.8117 or
email suppressed
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SATURDAY, APRIL 14, 2007
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4/14
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
DIS-ORIENTED: HONG + CHEN + LIGON
As the first half of this season's installment of our Historical
Reversionism series, our program exploits the contradictions between and
within various and varying official histories of China, Japan, and the
US. Featured in this mortal combat between propaganda, political
fantasy, and critique, is the world premiere of 731: Two Versions of
Hell, a 27 min. master-stroke of (re)deconstruction, crafted by Goldie
awardee James Hong and collaborator Yin-Ju Chen. This ingenious
ideological puzzle takes as its subject the infamous Japanese military
lab (731) that housed experiments using Chinese prisoners as live guinea
pigs. In a telling structural move, Hong re-presents the same assembly
of shots with an altogether different soundtrack, demonstrating
ever-so-artfully (and with more than a little morbidity) the critical
principle at stake. This inquiry into the construction of History serves
as healthy response to the blatantly racist and nationalistic "war
information" films (16mm) that open the show (Why We Fight, My Japan,
Our Job in Japan). A similar service is performed by JD Ligon's Ha Ha Ha
America, an audaciously provocative skewering of assumptions about China
vs. US global supremacy and pride.
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SUNDAY, APRIL 15, 2007
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4/15
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/index.shtml
7:00 pm, Harvard Film Archive, 24 Quincy St
NEW ENGLAND FILMMAKERS SEE IN THE DARK
Freshly unearthed from the northeastern topsoil, a few resilient
experimental films slither forth from the dormancy of winter and work
their way to the warm screen of the Harvard Film Archive. The
flickering, incandescent residue of 16mm will surely awaken all the
workers, drifters, outsiders and romantics from the damp cold to see the
latest in absurdist cultural commentary, explosive poetic montage, and
tormented dream reverie. The filmmakers and the Harvard Film Archive
would like to dedicate this screening to Max Coniglio, who passed away
on February 9, 2007. April 15 (Sunday) 7 pm Blood of the Earthworm
Trailer Directed by Brittany Gravely, Appearing in Person US 2002,
video, color, 5 min. A pre-production trailer for the film—barely a
sketch of things to come. The Daily Planner Directed by Max Coniglio US
2006, 16mm, 9 min. A lazy, disorganized couch potato is miraculously
transformed into a manic, over-achieving member of the rat race after
his wife hands him a daily planner. 0106 Directed by Xander Marro and
Mat Brinkman, Xander Marro Appearing in Person US 2006, 16mm, 13 min. A
single-frame barrage of DIY living quarters, puppeteer frontiers, too
many cats, silkscreen explosions, portable cooking stoves, zine
libraries, drum kits, and more - all to the discordant squall of Marro
and Brinkman's manic sonar hearts (Rotterdam Film Festival program
notes). Porch Film: 76 Day Street #2 Directed by Paul Turano, Appearing
in Person US 2004, 16mm, 18 min. A domestic pastoral, summertime on a
back porch, the sound track a mixed tape of emotions. for them ending
Directed by Jonathan Schwartz, Appearing in Person US 2005, 16mm, 3 min.
a raised hand, the children's cheer, the distant fireworks explode like
bombs. for quiet nights and summertime and a life in the absence of war
(Jonathan Schwartz). for a winter Directed by Jonathan Schwartz,
Appearing in Person US 2007, 16mm, 3 min. for a winter (without much
snow, we can all see the evidence in the exhales). L'Eye Directed by
Xander Marro, Appearing in Person US 2006, 16mm, 3 min. Who watches the
Watchmen? Doom drones and Italian supermodels conspire to turn your
loving capitalist gaze back into your own insides. With sound by Carly
Ptak of the Baltimore noise band Nautical Almanac hearts (Rotterdam Film
Festival program notes). Blood of the Earthworm Directed by Brittany
Gravely, Appearing in Person US 2006, 16mm, color, 32 min. An
anti-climactic barrage of original footage and unoriginal extractions
from horror, science fiction, and educational films, all of which
feature contemporary maladies of civilization, such as ecological
devastation, bio-terrorism, consumerism, and government conspiracy, in
their story or subtext. New England premiere!
4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30, 32 Second Avenue (at Second Street)
KEN JACOBS, JEAN EPSTEIN & DWINELL GRANT SHORTS
Jean Epstein. THE LIGHT THAT NEVER FAILS / LES FEUX DE LA MER. 1948, 20
minutes. Made for the United Nations. Dwinell Grant. COMPOSITION #2
CONTRATHEMIS. 1941, 5 minutes. "An attempt to develop visual abstract
themes and to counterpoint them in a planned, formal composition." -D.G.
"Austere and chaste combinations, with subtle manipulation of structure,
density and rhythm." -William Moritz. STOP MOTION TESTS. 1942, 3
minutes. . A self-portrait. COLOR SEQUENCE. 1943, 3 minutes. . "Pure
solid-color frames which fade, mutate and flicker. A research into color
rhythms and perceptual phenomena." -William Moritz. Ken Jacobs. LITTLE
STABS AT HAPPINESS. 1959-63, 18 minutes. Featuring Jack Smith. .
"Material was cut in as it came out of the camera, embarrassing moments
intact. 100' rolls timed well with music on old 78s. I was interested in
immediacy, a sense of ease, and an art where suffering was acknowledged
but not trivialized with dramatics. Whimsy was our achievement as well
as breaking out of step." -K.J. Ken Jacobs & Bob Fleischner. BLONDE
COBRA. 1962, 35 minutes. Featuring Jack Smith. "BLOND COBRA is an
erratic narrative - no, not really a narrative, it's only stretched out
in time for convenience of delivery. It's a look in on an exploding
life, on a man of imagination suffering pre-fashionable Lower East Side
deprivation and consumed with American 1950s, 40s, 30s disgust. Silly,
self-pitying, guilt-strictured and yet triumphing - on one level - over
the situation with style… enticing us into an absurd moral posture the
better to dismiss us with a regal 'screw off.'" -K.J. Total running
time: ca. 90 minutes. .
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.