From: Weekly Listing (email suppressed)
Date: Sat Jun 09 2007 - 18:19:43 PDT
This week [June 9 - 17, 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:
==============
"Testing the Undertow" by Jennifer Proctor
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=302.ann
"Project London" by Phil McCoy
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=97.ann
SERVICES:
========
creating the buzz
http://www.hi-beam.net/cgi-bin/ann.pl?type=services&readfile=99.ann
NEW CALLS FOR ENTRIES:
=====================
Danger Zone (San Francisco, CA, USA; Deadline: July 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=739.ann
Festival du nouveau cinéma (Montréal, Québec, Canada; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=742.ann
Byron Bay Film Festival (Byron Bay, NSW, Australia; Deadline: October 31, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=743.ann
HEART OF GOLD INTERNATIONAL FILM FESTIVAL (australia; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=744.ann
Three Rivers Film Festival (Pittsburgh, PA, USA; Deadline: August 31, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=745.ann
Detroit Docs International Film Festival (Detroit, MI USA; Deadline: August 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=746.ann
The International Experimental Cinema Exposition (Montevideo, Uruguay; Deadline: June 22, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=747.ann
Transformer Gallery (Washington DC; Deadline: July 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=748.ann
ICE Film Festival (Iowa City, IA, USA; Deadline: August 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=749.ann
Overlap 06 - Rx Gallery (San Francisco, CA; Deadline: June 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=750.ann
DEADLINES APPROACHING:
======================
10 or Less Film Festival (Portland, OR, USA; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=683.ann
2007 Great Lakes Film Festival (Erie PA USA; Deadline: June 30, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=685.ann
Animated Bike -In II (Vancouver, British Columbia, C; Deadline: June 30, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=698.ann
Sydney Underground Film Festival (Sydney, NSW, Australia; Deadline: June 29, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=700.ann
Coney Island Film Festival (Brooklyn, NY; Deadline: July 10, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=708.ann
ATA Film and Video Festival (San Francisco, CA USA; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=724.ann
London Film Festival (London, UK; Deadline: June 29, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=730.ann
Artists' Television Access (San Francisco, CA US; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=731.ann
Korean Focus at the 23rd International Short Film Festival Berlin (Berlin, Germany; Deadline: July 13, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=738.ann
Danger Zone (San Francisco, CA, USA; Deadline: July 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=739.ann
Festival du nouveau cinéma (Montréal, Québec, Canada; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=742.ann
HEART OF GOLD INTERNATIONAL FILM FESTIVAL (australia; Deadline: June 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=744.ann
The International Experimental Cinema Exposition (Montevideo, Uruguay; Deadline: June 22, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=747.ann
Overlap 06 - Rx Gallery (San Francisco, CA; Deadline: June 20, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=750.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):
==============================
* Film Love - Our Folks: Poetic Documentaries About Family [June 9, Atlanta, Georgia]
* Bryan Konefsky Presents: What We Do For Love [June 9, New York, New York]
* Flock of Words: New video/Performance of David Finkelstein [June 9, San Francisco, California]
* An Evening With the Kranings [June 10, Los Angeles, California]
* Classics of the Twenties [June 10, New York, New York]
* George Landow/Aka Owen Land [June 10, New York, New York]
* In Memoriam: Diane Bonder [June 10, San Francisco, California]
* Newfilmmakers Salutes Mental Illness Docs, Mocks & More [June 13, New York, New York]
* La Cyclo-Cinematheque [June 14, BERN, SWITZERLAND]
* Film Before Film: What Really Happened Between the Images? / Was Geschah
Wirklich Zwischen Den Bildern? [June 14, New York, New York]
* Paul Tschinkel/ Art/New York- Documentaries- Kiki Smith/ Louise Bourgeois [June 14, New York, New York]
* New Maps of the New World (The Short Films of Roger Beebe) [June 14, San Francisco, California]
* Guy Sherwin [June 15, Brussels, Belgium]
* 13 Lakes [June 15, New York, New York]
* Ten Skies [June 15, New York, New York]
* Finding Normal [June 15, Portland, Oregon]
* Malcolm Le Grice [June 16, Brussels, Belgium]
* La Cyclo-Cinematheque [June 16, LYON, FRANCE]
* 13 Lakes [June 16, New York, New York]
* Ten Skies [June 16, New York, New York]
* William Raban [June 17, Brussels, Belgium]
* The Watermelon Woman (1996) With Director Cheryl Dunye and Producer Alex
Juhasz In Person! [June 17, Los Angeles, California]
* 13 Lakes [June 17, New York, New York]
* Ten Skies [June 17, New York, New York]
Events are sorted by CITY within each DATE.
----------------------
SATURDAY, JUNE 9, 2007
----------------------
6/9
Atlanta, Georgia: Eyedrum
http://www.eyedrum.org
8:00 PM, 290 Martin Luther King Jr Dr, Suite 8
FILM LOVE - OUR FOLKS: POETIC DOCUMENTARIES ABOUT FAMILY
The Film Love series presents the Atlanta premieres of three poetic
short films and videos - emotional documentaries about the filmmakers'
quests to connect with their families across the generations. ** Reading
the Water is a brand new work by Atlanta artist Niklas Vollmer. Part
nature film, part home movie, Reading the Water takes Vollmer and his
three-year-old son to the coast of Maine, for a visit to Vollmer's
marine biologist father. Gorgeous high-definition video footage
highlights the ecosystem of the waterways, with engaging explanations of
the wildlife by Vollmer's father. However, Vollmer turns the tables by
including playful outtakes, false starts and wry cinematic disruptions
that reveal the familial bonds (and occasional irritations) between the
three generations of men. ** Ariana Gerstein's film Images of Flying and
Falling is an experimental documentary about the filmmaker's mourning of
her own grandmother. The only film imagery which she has of her
grandmother is manipulated digitally, and juxtaposed against the witty,
moving narration of an artist who compulsively collects postcards and
family photographs which have been discarded by others. ** LeAnn
Erickson's poignant short video Folk Songs explores "the old world"
through the memories and stories of the filmmaker's grandparents, who
left the Ukraine for the United States as teenagers in 1913. Song,
passports, photographs, and other artifacts from the past hint at the
richness of what was lost when they left for a new home in another
country, and the intensity of the immigrant experience. ** program: Folk
Songs (LeAnn Erickson, 2007), 16mm and video, 12 minutes, screened on
digital video | Images of Flying and Falling (Ariana Gerstein, 2000),
16mm, 25 minutes, screened on digital video | Reading the Water:
Lectures on Home Video Ecology from the Gulf of ME (Niklas Vollmer,
2007), digital video, 40 minutes **The Film Love series provides access
to great but rarely-screened films, and promotes awareness of the rich
history of experimental and avant-garde filmmaking. Film Love was voted
Best Film Series in Atlanta 2006 by the critics of Creative Loafing.
More information about the series is at
http://www.frequentsmallmeals.com/
6/9
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 E 4th ST NYC 10003
BRYAN KONEFSKY PRESENTS: WHAT WE DO FOR LOVE
Millennium Film Workshop 8:00pm, June 9, 2007 66 E 4th ST NYC 10003
212.673.0090 www.millenniumfilm.org On June 9 at the Millennium Film
Workshop Konefsky will present work that will showcases a wide range of
personal cinema produced by members of Albuquerque-based Basement Films
and other un-dependent media artists living, working and trying to keep
their water usage to a minimum in New Mexico. Note that some of the
works included in this program were culled from our 2007 Experiments in
Cinema V 2.0 festival. In addition to the regular program of visionary,
personal work, Konefsky will screen a video produced by Steve –O (yes,
Steve-O from the Jackass movies) from 1996 when he was enrolled in a
video art production course taught by Bryan Konefsky at the University
of New Mexico– It's a curiously mature work for such a "young, loud and
snotty" pop culture icon! Bryan Konefsky Artistic Director, Experiments
in Cinema http://www.hi-beam.net/mkr/bk/ VP, Basement Films
www.basementfilms.org
6/9
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia Street (at 21st)
FLOCK OF WORDS: NEW VIDEO/PERFORMANCE OF DAVID FINKELSTEIN
David Finkelstein comes to ATA to deliver an evening of video and improv
for his West Coast premiere appearance! Working out of New York with his
collaborators in the Lake Ivan Performance Group, Finkelstein's style of
narrative improvisation clothed in video drag could be described as Jack
Smith meets George Kuchar on After Effects. The resulting video is of
course nothing you could have dreamed! The work is founded on the
improvising actor's art of fantasy and storytelling. Often the
groundwork involves videotaping two actors on stage, gesturing
and tossing brief monologues back and forth, creating a picaresque
dreamscape. Back at his studio console, Finkelstein then modulates and
mutates the footage through elaborate video wizardry. The work is
broadcast on Public Access cable and made available as single channel
DVD releases. Tonight's opening performance with Finkelstein, Bay Area
Action Theater artist Jenny Schaffer, and musician Steve Sandberg
will reveal the beginnings of the improvisational process. Then three
recent videos will be shown and the artist will be available afterwards
for discussion.
---------------------
SUNDAY, JUNE 10, 2007
---------------------
6/10
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
AN EVENING WITH THE KRANINGS
Filmforum presents filmmakers Blue and Laura Kraning with their recent
documentary work, including Laura¹s observational pieces "Cortlandt
Alley" and "American Parade" (about the 2006 Rose Parade) and Blue¹s
"Blasted!!! The Gonzo Patriots of Hunter S. Thompson," a raucous tour of
some of America¹s cannon owners/Hunter S. Thompson lovers.
6/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30, 32 Second Avenue (at Second Street)
CLASSICS OF THE TWENTIES
Fernand Léger with Dudley Murphy . BALLET MÉCANIQUE (1924,
12 minutes). Francis Picabia with René Clair . ENTR'ACTE (1924,
22 minutes, with Erik Satie score) . Man Ray . LE RETOUR À LA
RAISON (1923, 2 minutes) . ÉTOILE DE MER (1927, 13 minutes). EMAK
BAKIA (1927, 18 minutes) . Marcel Duchamp with Man Ray. ANEMIC CINEMA
(1926, 7 minutes).
6/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
GEORGE LANDOW/AKA OWEN LAND
"His remarkable faculty is as maker of images .. the images he
photographs are among the most radical, super-real and haunting the
cinema has ever given us." -P. Adams Sitney, VISIONARY FILM. "Film is a
complex medium, combining elements of many other media. The ideal film
artist would be a great poet, great painter, great playwright, great
composer, great inventor - and maybe even a great business man or woman
(most probably a woman - all the artists of the future may be women, men
having long given up that profession to become soldiers or mystics).
Such a composite genius has yet to appear." -interview with George
Landow, IMAGE FORUM, 1984. EARLY FILMS BY GEORGE LANDOW . ca. 1961-62,
ca. 15 minutes, 8mm (16mm blow-up), 18 fps. Special thanks to Cineric
Inc. for 16mm transfer. These films are not part of the Essential
Cinema. According to Jonas Mekas, Landow used to show these films along
with FLEMING FALOON at early screenings before he pulled them from his
repertoire. . FLEMING FALOON . 1963, 6 minutes, 16mm. . FILM IN WHICH
THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. .
1965/66, 5 minutes, 16mm, color, silent. DIPLOTERATOLOGY: BARDO FOLLIES
. 1967, 7 minutes, 16mm, b&w, silent. THE FILM THAT RISES TO THE SURFACE
OF CLARIFIED BUTTER . 1968, 9 minutes, 16mm, b&w, sound. INSTITUTIONAL
QUALITY . 1969, 5 minutes, 16mm. REMEDIAL READING COMPREHENSION . 1970,
5 minutes, 16mm, color, sound. WHAT'S WRONG WITH THIS PICTURE? . 1972,
13 minutes, 16mm, color and b&w, sound. THANK YOU JESUS FOR THE ETERNAL
PRESENT . 1973, 6 minutes, 16mm, color and b&w, sound.
6/10
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts 701 Mission st. at 3rd st.
IN MEMORIAM: DIANE BONDER
San Francisco Cinematheque is pleased to present a tribute to Diane
Bonder and a retrospective of the late Diane Bonder's ten years of
Super-8, 16mm and video work. Diane Bonder died last year on June 23
after living nearly a year with pancreatic cancer. Tonight is a
celebration of her life and work. Her narrative documentary fusions have
been internationally exhibited and are framed with flawless lyrical
potency. Dear Mom examines a girl's identity in relation to a
matriarchal family and domestic fantasies. If transforms the common
object into an emblem of an absent lover. Images of rural America in If
You Lived Here, You'd Be Home by Now bring us into a struggle between
private property and public space. In Closer to Heaven urban ghosts
collide. I Remember Now, We Never Danced, I Miss You, Good-bye moves to
a dance of memory and loss and You Are Not from Here expresses an
oblique nostalgia for the pre-gentrified landscape.
------------------------
WEDNESDAY, JUNE 13, 2007
------------------------
6/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Avenue (at Second Street)
NEWFILMMAKERS SALUTES MENTAL ILLNESS DOCS, MOCKS & MORE
Dan Kowalski THE CHARACTERS (2006, 13 minutes, mini-DV). Nicole Bukowski
THE G! TRUE TINSELTOWN TALE: DUDE, WHERE'S MY CAR? (2005, 20 minutes,
mini-DV/Super-8mm). Tim Bartell FIRST DATE MELTDOWN (2005, 6 minutes,
mini-DV). Danny Goodman WHEN WE'RE OLD AND LOVE MEANS NOTHING (2006, 14
minutes, video). . 7:00 SHORT FILM PROGRAM. Corey Rennell LAST TO BE
FIRST (2005, 35 minutes, mini-DV). Adam Karsten HAPPY (2006, 20 minutes,
mini-DV). . 8:00 FEATURE PRESENTATION . Joey Huertas 330.20 (2006, 37
minutes, video). A look at one of the most misunderstood and hated
categories of mental illness, the Criminally Insane. Examines murderers,
sex offenders and fire-setters, both in and out of incarceration.
(330.20: Penal Code for a Not Guilty by Reason of Insanity verdict.). &.
Michael Mongillo. WELCOME TO EARTH. 2005, 88 minutes, mini-DV. A group
of friends decide to have a party when Earth welcomes "The Visitors.".
-----------------------
THURSDAY, JUNE 14, 2007
-----------------------
6/14
BERN, SWITZERLAND: LA CYCLO-CINEMATHEQUE
http://www.sabinegruffat.com/tour.html
8PM, LICHTSPIEL
LA CYCLO-CINEMATHEQUE
LA CYCLO-CINEMATHEQUE Bill Brown is Texan. He captures history as it is
written across the American landscape: the cold-war politics of North
Dakota's abandoned nuclear missile silos, separatist tensions along the
Trans-Canadian Highway,the 2000-mile border between the United States
and Mexico. Sabine Gruffat currently lives in Détroit. Her films and
videos, inspired by a passion for deconstructing historical narratives,
are screened at numerous festivals worldwide. ?This summer, they are
together in Europe touring by bicycle across borders and stopping only
to screen their latest films and videos. Half the problem with borders
is finding them. Some are obvious, like the borders between countries,
floodlit and fortified; demilitarized zones where desire almost meets
what it most desires, then, disappointed or unrequited, throws itself on
the razor wire. Other borders we have to look for. Invisible ones we
cross without even noticing it. The invisible borders explain a lot: why
the places we were born feel like foreign countries; why the bodies we
were born into feel like foreign objects. La Cyclo-Cinémathèque is a
program of films about arbitrary delineations, eternally scarred
landscapes, and the continuing lure of unfamiliar frontiers: meditations
on the boundaries we have crossed, the walls we continue to build, and
the horizons that await us. Screening Program (subtitled) : And So Sings
Our Mechanical Bride by Sabine Gruffat / 19 : 00 / 2005 / USA Combining
archeological excavation and science fiction thriller, this video
resurrects the site of an abandoned US Steel mill—now an archetypal
monument of industrial history preserved in concrete—to investigate
themes concerning the unfulfilled promises of industrialization and the
destructive capabilities of evanescent ideas and imagery on
fundamentally physical beings. The Other Side by Bill Brown / 43 : 00 /
2006 / USA A 2000-mile journey along the U.S./Mexico border reveals a
geography of aspiration and insecurity. While documenting the efforts of
migrant activists to establish a network of water stations in the
borderlands of the southwestern U.S., Brown considers the border as a
landscape, at once physical, historical, and political. To the South Was
72 by Sabine Gruffat / 11 :00 / 2005 / USA This experimental documentary
video retells and disorders a prehistoric site: a location that is
visited, preserved and endlessly repeated via prescribed routes and
prerecorded narratives. LICHTSPIEL / Kinemathek Bern Bahnstrasse 21
CH-3008 BERN 84 rue du Général-Buat http://WWW.LICHTSPIEL.CH
6/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 Second Avenue (at Second Street)
FILM BEFORE FILM: WHAT REALLY HAPPENED BETWEEN THE IMAGES? / WAS GESCHAH
WIRKLICH ZWISCHEN DEN BILDERN?
An exhilarating and amusing encyclopedic look at the 'prehistory' of
cinema. Werner Nekes charts the fascination with moving pictures which
led to the birth of film, covering shadow plays, peep shows, flip books,
flicks, magic lanterns, lithopanes, panoramic, scrolls, colorful forms
of early animation, and numerous other historical artifices. Working
with these formats, early 'producers' created melodramas and comedies -
as well as lots of pornography - anticipating most of the forms known
today. Nekes probes these colorful toys and inventions in a rich and
rewarding optical experience. FILM BEFORE FILM is a bewildering assault
of exotic (and sometimes erotic) images and illusions.
6/14
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, Thursday Evening, 66 East 4th Street (Between 2nd Avenue and the Bowery)
New York
PAUL TSCHINKEL/ ART/NEW YORK- DOCUMENTARIES- KIKI SMITH/ LOUISE BOURGEOIS
KIKI SMITH (28 min.-1994) This tape covers the art of one of the most
innovative and unusual artists working today. Covered are two shows at
the Fawbush Gallery in New York City in which she exhibits visceral,
primal and thought provoking work. Included is an interview with KIKI
SMITH in her Lower East Side studio where she tallks at length about her
inspiration, her ideas and the making of her art. ALso included are
brief interviews with her dealers Joe Fawbush and Tom Jones, and Claudia
Gould, Director of Artists Space in Soho. LOUISE BOURGEOIS (28
min.-1987) This video covers two of Bourgeois' sculpture shows at the
Robert Miller Gallery. Included is a fascinating interview with this
long-standing, highly respected member of the New York art world. Text
is by Robert Storr, a curator of Painting and Sculpture at the Museum of
Modern Art.
6/14
San Francisco, California: New Nothing Cinema
8 pm, 16 Sherman St. (off Folsom btw 6th & 7th)
NEW MAPS OF THE NEW WORLD (THE SHORT FILMS OF ROGER BEEBE)
Come celebrate Flag Day at the New Nothing Cinema with a program of
experimental short films by Roger Beebe! Roger Beebe serves up slices of
American pie including: a look at some of Florida's finest strip malls
("The Strip Mall Trilogy," 9:00, 2001), a portrait of a disused gas
station ("S A V E," 5:30, 2006), a direct animation featuring images of
Toni Basil xeroxed directly on 16mm film ("TB TX DANCE," 2:30, 2006), an
exploration in dance of women and aviation in WWII ("A Woman, A Mirror,"
15:00, 2001), and, from right here in California, a glimpse of the
Central Coast's most overlooked power plant ("(rock/hard place)," 7:00,
2005) and shots of every McDonald's restaurant from San Leandro to
Richmond ("Composition in Red & Yellow," 2003, 2:30). And that's not
all—look for surprise appearances by Tommy Hilfiger and former Laker
Shaquille O'Neal, a roll of super 8 from an American in Paris, and more!
Been too busy helping support our secret detention centers in Eastern
Europe to memorize the 2nd tier of patriotic holidays? No problem—Flag
Day is next Thursday, June 14! Show starts at 8 p.m.! Better still, it's
FREE (although make sure you read the fine print!)! Filmmaker in
attendance! (Did we mention he's from FLORIDA?) Come! Come! Come! 8 pm
New Nothing Cinema 16 Sherman St. off Folsom Between 6th and 7th in San
Francisco's lovely SOMA district
---------------------
FRIDAY, JUNE 15, 2007
---------------------
6/15
Brussels, Belgium: Bozar Cinema
http://www.bozar.be/activity.php?id=7404&
20:00, Palais des Beaux-Arts / Bozar
GUY SHERWIN
Born 1948. Studied painting at Chelsea School of Art in the 1960s. His
subsequent film works, often including live elements and serial forms,
are characterised by an enduring concern with light and time as the
fundamentals of cinema. His piece Man With A Mirror is simply one of the
most stunning film performances ever created; time makes every of its
screenings an even stronger experience. Recent works include
multi-screen projection and gallery installations, mostly in
collaboration with Lynn Loo, who has worked oh this program with Guy
Sherwin and will help him during the screening. Sherwin taught printing
and processing at the London Filmmaker's Co-op (now LUX) during the
mid-70s. His films have been widely exhibited in England and abroad, as
part of 'Film as Film' Hayward Gallery 1979, 'Live in Your Head'
Whitechapel Gallery 2000, 'Shoot Shoot Shoot' Tate Modern 2002, 'A
Century of Artists' Film & Video' Tate Britain 2003/4. Solo shows
include San Francisco Cinematheque, LUX London, International Film
Festival Rotterdam, Image Forum Tokyo, Light Cone screening in Paris,
etc. Guy Sherwin lives in London and teaches at Middlesex University,
the University of Wolverhampton and periodically at the San Francisco
Art Institute. Multiprojection Program (approx 80') Mobius Loops 2007 12
mins. 3 or 5 projectors, performance, sound Interval 1974 5 mins 2
projectors, sound Cycles #3 1972/2003 8 mins 2 projectors, sound
Newsprint #2 1972/2003 9 mins, 2 projectors, sound Railings 1977 6 mins
1 projector (vertical format), sound Wires 2004 3 mins 3 projectors,
silent Bay Bridge from Embarcadero 2006 9 mins 3 projectors, silent
Camden Road Station 2004 (1973) 10 mins 3 projectors silent Man with
Mirror 1975(2007) 8 mins live performance (pause) Cinema Program (approx
42') Short Film Series 1975-98 18mins silent, titles include Metronome,
Bicycle, Tap, Eye, Portrait with Parents Canon 1977/2000 4mins sound
Animal Studies 1998-2003 16mins silent, titles include Cat, Gnats,
Coots, Tree Reflection Flight 1998 4mins sound
6/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30, 32 Second Avenue (at Second Street)
13 LAKES
Anthology favorite James Benning has been busy lately, making films
faster than we can show them. Hence this week of three new
feature-length works - two films which mirror each other (the sublime 13
LAKES and TEN SKIES) and a third which mirrors itself (ONE WAY BOOGIE
WOOGIE/27 YEARS LATER). In BOOGIE WOOGIE, Benning contemplates the
passage of time by remaking one of his earlier films, while 13 LAKES and
TEN SKIES demonstrate the paradoxical experience engendered by the
greatest works of minimalist art, their formal simplicity expanding our
perception and amplifying our sensitivity to a multiplicity of phenomena
we generally ignore or overlook. All three are overwhelming experiences,
not to be missed. 13 LAKES. "Working alone, and in complete isolation,
Benning photograph[ed] views of thirteen lakes around the western United
States. In only thirteen static camera shots, each lasting ten minutes,
Benning invites the spectator to an intimate contemplation of the
natural universe. In successive scenes, the filmmaker contrasts water
and sky, evoking the rich and varied color hues, shapes, and textures
which are at play in nature, and which he simultaneously embeds in the
emulsion of the celluloid film. Some images are astoundingly shimmering
and luminous; others are more rough and turbulent, suggesting the pull
of gravity at the edges of the film frame. Enhanced by both on-screen
and distant sounds (random boats passing through the frame and birds
circling overhead, as well as train whistles and gunshots heard in the
distance), Benning's film seduces the viewer's imagination with
suggestions of human dramas, which might surround the off-screen space.
As such, 13 LAKES delicately straddles the dividing line between
documentary and narrative filmmaking." -Jon Gartenberg, TRIBECA FILM
FESTIVAL. "The compositions are often breathtaking, many of them in
their near-abstraction resembling Rothko paintings, with thick bands of
lake and sky separated by a thin line of land. But seen from a
representational perspective, there's also an evocative counterpoint
between the immediacy of the foreground, in motion and full of detail,
and the remoteness of the receding lake and the land in the distance,
timeless and unknowable in their stillness. Depth of space has rarely
felt so revelatory or mysterious, so philosophically suggestive and
poetic." -Jared Rapfogel, SENSES OF CINEMA.
6/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15, 32 Second Avenue (at Second Street)
TEN SKIES
"This masterpiece by James Benning is an elaborately constructed montage
of ten ten-minute takes, a mesmerizing study of time, light, movement,
and moisture that traces the shifting relations between clouds and
earth, nature and people. It had much more to say to me than most
narrative films, though the subtly shifting patterns and textures of
each shot provide plenty of narrative as they tell the story of our own
perceptions." -Jonathan Rosenbaum, CHICAGO READER
6/15
Portland, Oregon: Northwest Film Center
http://www.nwfilm.org/
7pm, Whitsell Auditorium: 1219 sw park ave
FINDING NORMAL
Portland filmmaker Brian Lindstrom's (FROM THE GROUND UP, KICKING, HEART
OF HARLEM) work reflects an ongoing concern for social issues and people
who engage the challenges. His new film takes an unflinching look at the
daunting difficulties in overcoming addictions and the dynamic within
Portland's Central City Concern's recovery mentor program. With a 70%
success rate, the program's strength lies in its ability to promote a
strong sense of community and connectedness with peers and mentors, all
former addicts committed to helping others as they help themselves. "The
film is raw and real, filled with undeniable moments of pain and elation
and human personality. It's impossible to imagine a more honest look at
this all-too-common world." -Shawn Levy, THE OREGONIAN. (77 min) Brian
Lindstrom, who teachers in the Film Center's Young Filmmakers artist
residency programs, will be on hand to discuss the film and his
experiences.
-----------------------
SATURDAY, JUNE 16, 2007
-----------------------
6/16
Brussels, Belgium: Bozar Cinema
http://www.bozar.be/activity.php?id=7404&
20:00, Palais des Beaux-Arts / Bozar
MALCOLM LE GRICE
Born in 1940, Malcolm Le Grice is probably the most influential
modernist filmmaker in British cinema. Le Grice's work has explored the
complex relationships between the filmmaking, projecting and viewing
processes which constitute cinema as a medium. He started out as a
painter in London in the early 1960s and turned to filmmaking in the
middle of the decade. From the late-sixties onwards, his multiple screen
work was often accompanied by live performances interacting with the
projection event. Le Grice's best and most complex work was done in the
'70s, including such classic pieces as Threshold (1972), Berlin Horse
(1970) and Horror Film 1 (1971). His film works, installations and
performances have been widely shown at museums, galleries and festivals
nationally and internationally. Group exhibitions include Une Histoire
du Cinéma, Centre Georges Pompidou, Paris; Film as Film, Hayward
Gallery, London; Documenta 6, Kassel; Shoot Shoot Shoot, Tate Modern,
London. In addition to being a prolific filmmaker, Le Grice played an
influential role in the critical and institutional promotion of
avant-garde cinema in Britain. He was also a pioneer in the educational
domain, initiating the trend towards establishing filmmaking sections in
art colleges. He is also an inveterate polemicist: his book, Abstract
Film and Beyond, provides both a historical and a philosophical context
for the British and European avant-garde cinemas. Since 1997 he has
headed the media research programme at Central St Martin's art college
in London, accompanying his activities with critical-historical
reflections. PROGRAM 1 (93') After Leonardo 73-07 (1973, 25'), Critical
Moment One (2004, 1'), For the Benefit of Mr K (1995, 1'), Wier (1993,
3'), DENISINED - SINEDENIS (2006, 3'), Joseph's Newer Coat (1998, 15'),
Neither Here Nor There (2001, 8'), Traveling with Mark (2003, 6'),
Cherry (2003, 2'), Even the Cyclops Pays the Ferryman (1998, 15') -
Projected from Beta Horror Film 1 (1971, 14') - 16mm Performance (pause)
PROGRAM 2 (82') Matrix 73-06 (1973, 12'), Autumn Horizon (2005, 5'),
After Lumiere - l'arroseur arrosé (1974, 12'), Unforgettable (that's
what you are) (2006, 5'), Waiting for Ian (2006, 3'), Digital Aberration
(2004, 3'), Lecture to an Academy (2006, 9'), Little Dog For Roger
(1967, 12'), Berlin Horse (1970, 9') - Projected from Beta Threshold
(1972, 17') - 16mm Performance
6/16
LYON, FRANCE: LA CYCLO-CINEMATHEQUE
http://www.sabinegruffat.com/tour.html
6PM, GRRND GERLAND
LA CYCLO-CINEMATHEQUE
LA CYCLO-CINEMATHEQUE Bill Brown is Texan. He captures history as it is
written across the American landscape: the cold-war politics of North
Dakota's abandoned nuclear missile silos, separatist tensions along the
Trans-Canadian Highway,the 2000-mile border between the United States
and Mexico. Sabine Gruffat currently lives in Détroit. Her films and
videos, inspired by a passion for deconstructing historical narratives,
are screened at numerous festivals worldwide. ?This summer, they are
together in Europe touring by bicycle across borders and stopping only
to screen their latest films and videos. Half the problem with borders
is finding them. Some are obvious, like the borders between countries,
floodlit and fortified; demilitarized zones where desire almost meets
what it most desires, then, disappointed or unrequited, throws itself on
the razor wire. Other borders we have to look for. Invisible ones we
cross without even noticing it. The invisible borders explain a lot: why
the places we were born feel like foreign countries; why the bodies we
were born into feel like foreign objects. La Cyclo-Cinémathèque is a
program of films about arbitrary delineations, eternally scarred
landscapes, and the continuing lure of unfamiliar frontiers: meditations
on the boundaries we have crossed, the walls we continue to build, and
the horizons that await us. Screening Program (subtitled) : And So Sings
Our Mechanical Bride by Sabine Gruffat / 19 : 00 / 2005 / USA Combining
archeological excavation and science fiction thriller, this video
resurrects the site of an abandoned US Steel mill—now an archetypal
monument of industrial history preserved in concrete—to investigate
themes concerning the unfulfilled promises of industrialization and the
destructive capabilities of evanescent ideas and imagery on
fundamentally physical beings. The Other Side by Bill Brown / 43 : 00 /
2006 / USA A 2000-mile journey along the U.S./Mexico border reveals a
geography of aspiration and insecurity. While documenting the efforts of
migrant activists to establish a network of water stations in the
borderlands of the southwestern U.S., Brown considers the border as a
landscape, at once physical, historical, and political. To the South Was
72 by Sabine Gruffat / 11 :00 / 2005 / USA This experimental documentary
video retells and disorders a prehistoric site: a location that is
visited, preserved and endlessly repeated via prescribed routes and
prerecorded narratives. GRRND GERLAND 40 Rue Pré-Gaudry 69007 LYON
http://WWW.GRRRNDZERO.ORG
6/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30, 32 Second Avenue (at Second Street)
13 LAKES
Dir: James Benning. "Working alone, and in complete isolation, Benning
photograph[ed] views of thirteen lakes around the western United States.
In only thirteen static camera shots, each lasting ten minutes, Benning
invites the spectator to an intimate contemplation of the natural
universe. In successive scenes, the filmmaker contrasts water and sky,
evoking the rich and varied color hues, shapes, and textures which are
at play in nature, and which he simultaneously embeds in the emulsion of
the celluloid film. Some images are astoundingly shimmering and
luminous; others are more rough and turbulent, suggesting the pull of
gravity at the edges of the film frame. Enhanced by both on-screen and
distant sounds (random boats passing through the frame and birds
circling overhead, as well as train whistles and gunshots heard in the
distance), Benning's film seduces the viewer's imagination with
suggestions of human dramas, which might surround the off-screen space.
As such, 13 LAKES delicately straddles the dividing line between
documentary and narrative filmmaking." -Jon Gartenberg, TRIBECA FILM
FESTIVAL. "The compositions are often breathtaking, many of them in
their near-abstraction resembling Rothko paintings, with thick bands of
lake and sky separated by a thin line of land. But seen from a
representational perspective, there's also an evocative counterpoint
between the immediacy of the foreground, in motion and full of detail,
and the remoteness of the receding lake and the land in the distance,
timeless and unknowable in their stillness. Depth of space has rarely
felt so revelatory or mysterious, so philosophically suggestive and
poetic." -Jared Rapfogel, SENSES OF CINEMA.
6/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15, 32 Second Avenue (at Second Street)
TEN SKIES
Dir: James Benning. "This masterpiece by James Benning is an elaborately
constructed montage of ten ten-minute takes, a mesmerizing study of
time, light, movement, and moisture that traces the shifting relations
between clouds and earth, nature and people. It had much more to say to
me than most narrative films, though the subtly shifting patterns and
textures of each shot provide plenty of narrative as they tell the story
of our own perceptions." -Jonathan Rosenbaum, CHICAGO READER
---------------------
SUNDAY, JUNE 17, 2007
---------------------
6/17
Brussels, Belgium: Bozar Cinema
http://www.bozar.be/activity.php?id=7404&
20:00, Palais des Beaux-Arts / Bozar
WILLIAM RABAN
"William Raban's multi-screen works are pure explorations of film
material and technology, concerning the frame, the screen and the
shutter. Through their visceral presence they transform structural
theories into an intense audio-visual experience, whilst Take Measure
physically breaks down the intangible space between projector and
screen." Mark Webber William Raban (born 1948) studied painting at the
Saint Martins School of Art and was very active in the context of the
London Filmmakers Co-Op during the 1970s. Not known enough outside of
England, his radical work features such powerful films as Wave
Formations, Surface Tension and Diagonal. These stunning multi-screen
pieces from the 1970s still impress for their formal qualities as for
their radical and modern take on the connections between image and
sound. They can be considered as key works (and almost definitions) of
the expanded cinema genre. More political, less formal, William Raban's
recent work focuses on the rapidly changing physical and social
landscape of East London where he lives. These films will be shown in
the second part of the programme. Program 1 (c. 60') Take Measure (1973,
1') Surface Tension (1974-6, 15', 2 screen) Angles of Incidence (1973,
10', 2 screen) Wave Formations (1978, 25', 3 screen) Diagonal (1973, 5',
3 screen) All films 16mm Program 2 (75') Fergus Walking (1997, 3')
Sundial (1992, 1') A13 (1994, 12') Island Race (1996, 28') Firestation
(2000, 26') Civil Desobedience (2004, 3') All films shot on 16mm and
presented on Beta SP
6/17
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
THE WATERMELON WOMAN (1996) WITH DIRECTOR CHERYL DUNYE AND PRODUCER ALEX
JUHASZ IN PERSON!
In celebration of the publication of F is for Phony, the first
book-length study of the "fake documentary" published in the US. The
film features many notables from the lesbian and gay community
including: Guin Turner (Go Fish), Sarah Schulman, Camille Paglia and
highlights the photography of Zoe Leonard.
6/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30, 32 Second Avenue (at Second Street)
13 LAKES
Dir: James Benning. "Working alone, and in complete isolation, Benning
photograph[ed] views of thirteen lakes around the western United States.
In only thirteen static camera shots, each lasting ten minutes, Benning
invites the spectator to an intimate contemplation of the natural
universe. In successive scenes, the filmmaker contrasts water and sky,
evoking the rich and varied color hues, shapes, and textures which are
at play in nature, and which he simultaneously embeds in the emulsion of
the celluloid film. Some images are astoundingly shimmering and
luminous; others are more rough and turbulent, suggesting the pull of
gravity at the edges of the film frame. Enhanced by both on-screen and
distant sounds (random boats passing through the frame and birds
circling overhead, as well as train whistles and gunshots heard in the
distance), Benning's film seduces the viewer's imagination with
suggestions of human dramas, which might surround the off-screen space.
As such, 13 LAKES delicately straddles the dividing line between
documentary and narrative filmmaking." -Jon Gartenberg, TRIBECA FILM
FESTIVAL. "The compositions are often breathtaking, many of them in
their near-abstraction resembling Rothko paintings, with thick bands of
lake and sky separated by a thin line of land. But seen from a
representational perspective, there's also an evocative counterpoint
between the immediacy of the foreground, in motion and full of detail,
and the remoteness of the receding lake and the land in the distance,
timeless and unknowable in their stillness. Depth of space has rarely
felt so revelatory or mysterious, so philosophically suggestive and
poetic." -Jared Rapfogel, SENSES OF CINEMA.
6/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15, 32 Second Avenue (at Second Street)
TEN SKIES
Dir: James Benning. "This masterpiece by James Benning is an elaborately
constructed montage of ten ten-minute takes, a mesmerizing study of
time, light, movement, and moisture that traces the shifting relations
between clouds and earth, nature and people. It had much more to say to
me than most narrative films, though the subtly shifting patterns and
textures of each shot provide plenty of narrative as they tell the story
of our own perceptions." -Jonathan Rosenbaum, CHICAGO READER
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.