From: Weekly Listing (email suppressed)
Date: Sat Oct 13 2007 - 11:51:52 PDT
Part 2 of 2: This week [October 13 - 21, 2007] in avant garde cinema
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SATURDAY, OCTOBER 20, 2007
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10/20
Atlanta, Georgia: Eyedrum
http://www.eyedrum.org
8:00 PM, 290 Martin Luther King Jr Dr Suite 8
STILL/MOVING: STILL PHOTOGRAPHY IN THE MOVING IMAGE. PART 2: PICTURES
WORTH A THOUSAND WORDS
"Pictures worth a thousand words" shows three films which tell their
stories almost entirely with still photographs (but watch closely!). |
Chris Marker's classic La Jetée – the inspiration for the Terry Gilliam
film 12 Monkeys – is the story of a mysterious childhood memory in a
dystopian future. Using still photos, a hot plate, and a poignant
narration, Hollis Frampton's film (nostalgia) works an ingenious
cognitive trick on the audience, while Morgan Fisher's Production Stills
turns a Polaroid camera on a movie camera, then turns the movie camera
back on the Polaroid photos and thus manages to document its own making!
| Program: Production Stills (Morgan Fisher, 1970), 16mm, black & white,
sound, 11 minutes | (nostalgia) (Hapax Legomena I) (Hollis Frampton,
1971), 16mm, black & white, sound, 36 minutes; | La Jetée (Chris Marker,
1962), 16mm, black & white, sound, 28 minutes
10/20
Brussels: ARGOS
http://www.argosarts.org
14:00, ARGOS Brussels
KEN JACOBS: STAR SPANGLED TO DEATH
Sa 20.10.2007 // 14:00 – 23:00 Ken Jacobs Star Spangled To Death
1957-2003, col./b&w, English spoken, 393' organised by ARGOS
(www.argosarts.org) and BOZAR cinema (www.bozar.be) 14:00 Mark Webber in
conversation with Ken Jacobs 15:00 part 1+2 (with short break in
between) 18:00 dinner 20:00 part 3+4 (with short break in between) This
Magnum Opus by Ken Jacobs was in the making for almost half a century.
Initiated in 1957 as one of his "urban-guerilla-cinema" projects with
avant-garde legend Jack Smith, this film developed into a 6-hour-plus
social criticism of the U.S. which, in his words, was "stolen and
dangerously sold-out". Footage of his own is combined with fragments
from documentaries, cartoons, musicals and educational films, as a
reflection on such issues as race and religion, war addiction and the
monopolisation of wealth. A splendid immersion in clownish euphoria and
political despair. Mark Webber is an independent curator of avant-garde
/ experimental / artists' film and video. He has presented events and
screenings as the Barbican Centre (Underground America, Cinema
Auricular: Electronic Music and Film), ICA (Little Stabs at Happiness),
Tate Modern (Like Seeing New York For The First Time, The Films of Andy
Warhol), London Film Festival (Ken Jacobs' Nervous System, Peter
Kubelka: What Is Film), Oberhausen Kurzfilmtage (Came the Loop Before
The Sampler, Floating Through Time: The Films of Larry Jordan) and the
Whitney Museum of American Art (The American Century Part 2: 1950s &
1960s). He has been touring the world with Shoot Shoot Shoot, a major
retrospective of the London Film-Makers' Co-operative & British
Avant-Garde Film from 1966-76.
10/20
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8:00PM, 66 E. 4th St.
CAROLINE KOEBEL: CITY FILM BERLIN
Situated at a crossroads, City Film Berlin is a multidirectional program
of new cinema by Caroline Koebel. The filmmaker shot the two featured
titles Berlin Warszawa Express and Alex, Wait! while living as a
pregnant artist in Berlin. These works traverse performance and film,
documentation and intervention, seriality and narrative, rhythm and
stillness, tourist snapshot and meditative portrait, the city film genre
and conceptual art. They re-site the kino eye in the protruding belly,
the filmmaker becoming a visible body and a body of vision. Inverse to
Walter Ruttmann's Berlin: Symphony of A City in which the camera was
hidden in order to capture the metropolis in its authenticity, in these
films the spectacle of the filmmaker as public maternal body casts
shadow enough on the camera in effect to conceal it. The program also
includes a collaboration with Katherine Crockett of the Martha Graham
Dance Company, a reenactment of a 1968 action by Valie Export and Peter
Weibel starring Tony Conrad and Bernadette Wegenstein, and two 16mm
shorts.
10/20
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 pm, 992 Valencia Street
LYNNE SACHS’ I AM NOT A WAR PHOTOGRAPHER
OC is honored to host, in person, prodigal daughter Lynne Sachs. Both a
screening and spoken-word event, in I Am Not a War Photographer Lynne
discusses her decade-long artistic—rather than physical—immersion in
war. From Vietnam to Bosnia to WWII-occupied Rome to the Middle East
today, her experimental documentaries probe the borders between genres,
discourses, radicalized identities, psychic states, and nations through
the intertwining of abstract and reality-based imagery. Sachs is not
avoiding graphic realism, but instead is unpeeling the outer, more
familiar layers, hoping to reveal something new about perception and
engagement in cinema.
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SUNDAY, OCTOBER 21, 2007
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10/21
Brussels: ARGOS
http://www.argosarts.org
20:30, BOZAR Brussels
KEN JACOBS & AKI ONDA: NERVOUS MAGIC LANTERN PERFORMANCE
Su 21.10.2007 // 20:30 Ken Jacobs & Aki Onda Nervous Magic Lantern
Performance Paleis voor Schone Kunsten / Palais des Beaux-Arts entry
fee: 9/7 euros organised by ARGOS (www.argosarts.org) and BOZAR cinema
(www.bozar.be) Ken Jacobs (US, 1933) is a key figure in the post-war
experimental film world. After his university studies he found himself
in the vivid artistic climate of New York of the 50s and 60s, where he
made a name for himself as a committed filmmaker and activist. Together
with his wife Flo he founded the Millennium Film Workshop, and was
responsible for one of the first university cinema training courses.
Jacobs' films and performances explore the subconscious of the cinematic
experience, the regions where the construction of light, movement, speed
and frame incite a purely sensorial shadowplay, beyond the borders of
cinematographic time and space. In films such as Tom, Tom the Piper's
Son (1969-1971) he dissects and manipulates existing film material,
deconstructs each sequence and gesture, applies himself to texture and
space, and choreographs, like a self-appointed "cine-puppeteer", a
secondary discourse of forgotten and explored time. In his performances
and recent video work he explores the phenomenon of "eternalisms",
paradoxical appearances in which objects and figures seem to be captured
in a spasm of infinite, slowly moving rotations. This is cinema which
reverses the curve of human perception, and which takes its force from
the mysteries of our own looking and thinking. The Nervous Magic
Lantern, a film projector Jacobs made himself, unravels an unexpected
film before our eyes, without actors, without a plot, without celluloid
or video. Making use of pre-cinematographic techniques an illusory
dreamworld is created, where the spectator is immersed in alienating,
rotating landscapes suggesting the shape of volcanic glass, desolate
craters or glacial gorges. The result is a hallucinatory
three-dimensional watching experience, in which impossible phenomena and
non-existing locations come to life in the projected dimension between
the screen and the gaze of the spectator, like an innuendo of abstract
shapes. Musician, composer and visual artist Aki Onda (JP, 1967) is
always on the lookout, camera and sound recorder at hand, ready to
document his travels and encounters. He looks for meaning in the
accumulation of those memories, when the specific experiences fade out
and the architecture and essence of the memory reveals itself. His
ongoing project Cassette Memories consists of a series of performances,
or rituals, where he lets memories, recorded on soundtape, wander and
collide with the sounds of the site-specific memory. Onda has previously
worked with such artists as Alan Licht, Loren Connors, Michael Snow and
Otomo Yoshihide. This is his first collaboration with Ken Jacobs.
10/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Echo Park Film Center, 1200 Alvarado Street (at Sunset)
FILMFORUM PRESENTS YOU PICK ‘EM! A SELECTION OF EXPERIMENTAL FILMS FROM
CANYON CINEMA
Rarely screened classics, curiosities, forgotten wonders including
Runaway (Standish Lawder, 1969); Book of Dead (Victor Faccinto, 1978);
Blutrausch – Bloodlust (Thorston Fleisch, 1999); 3/60: Baume im Herbst
(Trees in Autumn) (Kurt Kren, 1960); Billabong (Will Hindle, 1969) and
more! NOTE CHANGE IN LOCATION
10/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
FILMS BY STAN BRAKHAGE
Dir: STAN BRAKHAGE. PASHT (1965, 5 minutes, 16mm). THE WONDER RING
(1955, 4 minutes, 16mm). FLESH OF MORNING (1956, 25 minutes, 16mm). FIRE
OF WATERS (1965, 10 minutes, 16mm, sound). WINDOW WATER BABY MOVING
(1959, 12 minutes, 16mm). . Films made during the early period of one of
modern cinema's greatest innovators, including one of his early
experiments with sound.
10/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Avenue (at Second Street)
BELSON / BAILLIE / CROCKWELL
Jordan Belson . ALLURES (1961, 9 minutes, 16mm) . RE-ENTRY (1964, 6
minutes, 16mm). PHENOMENA (1965, 6 minutes, 16mm). WORLD (1970, 7
minutes, 16mm). "Our greatest abstract film poet: he has found how to
combine the vision of the outer and the inner eye." -Gene Youngblood.
Bruce Baillie . CASTRO STREET (1966, 10 minutes, 16mm). ALL MY LIFE
(1966, 3 minutes, 16mm) . HERE I AM (1962, 11 minutes, 16mm). Songs and
poems of everyday reality. Funding for the preservation and restoration
of HERE I AM graciously provided by Sony Pictures Entertainment.
Douglass Crockwell . GLEN FALLS SEQUENCE (1964, 8 minutes, 16mm).
Preserved by Anthology Film Archives. "The basic idea was to paint
continuing pictures on various layers with plastic paint, adding at
times and removing at times, and to a certain extent these early
attempts were successful." -D.C.
10/21
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
8:00pm, San Francisco Art Institute, 800 Chestnut Street (at Jones)
EXPERIMENTS IN HIGH DEFINITION
From 2004 through 2006, Voom HD LAB, a project of Voom HD Networks,
conducted a residency program which offered a wide range of filmmakers
access to state of the art facilities and fostered a diverse body of
works, imagining the televised signal as an ambient experience based on
experimentation and free play. Screening: Aerodynamics of the Black Sun
by Bradley Eros; The Tension Building by Ericka Beckmann; Newr
Bloodpinkis by Theo Angell; Sahara Mojave by Leslie Thornton; May Mad
Gab by Lili Chin; Walden by Jennifer Sullivan; Angie Eng's Schpilin
Aqui; Landfill by Pawel Wojtasik; 16 Letters by Grahame Weinbren;
Unperception Now by Ali Hossaini; My Person in the Water by Leighton
Pierce; Light Work One by Jennifer Reeves and Sorry by Gail Vachon.
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.