From: weekly listing (email suppressed)
Date: Sat Oct 20 2007 - 12:43:52 PDT
This week [October 20 - 28, 2007] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
===========================
"Magnificent Forest" by Eric Ostrowski
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=318.ann
NEW CALLS FOR ENTRIES:
=====================
The Images Festival (Toronto, Ontario, CANADA; Deadline: November 09, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=794.ann
EMPAC (troy,ny,usa; Deadline: February 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=795.ann
LIFT (Toronto; Deadline: November 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=797.ann
Media City (Windsor ON Canada; Deadline: November 30, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=798.ann
Fargo Film Festival (Fargo, ND, USA; Deadline: December 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=799.ann
Studio 27 (San Francisco, CA USA; Deadline: December 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=800.ann
Portland Documentary & eXperimental Film Festival (PDX Fest) (Portland,
Oregon USA; Deadline: December 14, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=801.ann
Faux Film Festival (Portland, OR; Deadline: December 31, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=802.ann
DEADLINES APPROACHING:
======================
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
MONO NO AWARE Film Event (Brooklyn, NY USA; Deadline: November 09, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=767.ann
Signal & Noise (Vancouver, BC, Canada; Deadline: November 01, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=782.ann
Black Maria Film + Video Festival (Jersey City, New Jersey, USA; Deadline:
November 16, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=786.ann
San Francisco Ocean Film Festival (San Francisco, California, USA;
Deadline: October 31, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=791.ann
Nashville Film Festival (Nashville, TN, USA; Deadline: November 16, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=792.ann
The Images Festival (Toronto, Ontario, CANADA; Deadline: November 09, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=794.ann
LIFT (Toronto; Deadline: November 15, 2007)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=797.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Still/Moving: Still Photography In the Moving Image. Part 2: Pictures
Worth A Thousand Words [October 20, Atlanta, Georgia]
* Ken Jacobs: Star Spangled To Death [October 20, Brussels]
* Caroline Koebel: City Film Berlin [October 20, New York, New York]
* Lynne Sachs’ I Am Not A War Photographer [October 20, San Francisco,
California]
* Ken Jacobs & Aki Onda: Nervous Magic Lantern Performance [October 21,
Brussels]
* Filmforum Presents You Pick ‘Em! A Selection of Experimental Films From
Canyon Cinema [October 21, Los Angeles, California]
* Films By Stan Brakhage [October 21, New York, New York]
* Belson / Baillie / Crockwell [October 21, New York, New York]
* Experiments In High Definition [October 21, San Francisco, California]
* An Evening With James Benning: One Way Boogie / 27 Years Later
[October 22, Seattle, Washington]
* Visiting Artist James Benning: One Way Boogie Woogie 27 Years Later
[October 23, Portland, Oregon]
* Sins of the Fleshapoids: Mike Kuchar In Person [October 23, Reading,
Pennsylvania]
* Hellzapoppin' [October 23, San Francisco, California]
* Seasons of Macdowell (2007) [October 24, Columbus, Ohio]
* Slow Space [October 24, Freiburg i. Br.]
* Helen Hill Memorial [October 24, New York, New York]
* At the Heart of A Sparrow: videos By Barry DoupÉ [October 25, Chicago,
Illinois]
* David Gatten: the Image & the Word (Workshop) [October 25, London,
England]
* New Work Uk: Trust Yourself [October 25, London, England]
* Open Screening [October 25, Reading, Pennsylvania]
* Bruce Mcclure: Lit Cavities In the Face Open their Glassy Embrace To
Receive You [October 25, San Francisco, California]
* Up and Out [October 26, New York, New York]
* Bruce Mcclure: Down the Photoslope In Synopanc Pulses [October 26, San
Francisco, California]
* Joseph Cornell: Collaborations and Cinematic Influences [October 26,
San Francisco, California]
* Urban/Rural Landscapes In Film and video [October 27, Greenbelt, Maryland]
* Capitalism: Child Labor [October 27, London, England]
* The ‘I’ and the ‘We’ [October 27, London, England]
* Past Imperfect [October 27, London, England]
* Carolee Schneemann [October 27, London, England]
* Mysterious Emulsion [October 27, London, England]
* 3 By Charles Burnett [October 27, Los Angeles, California]
* Experiments In Terror ii [October 27, San Francisco, California]
* The Anagogic Chamber [October 28, London, England]
* Now Wait For Last Year [October 28, London, England]
* Over Land and Sea [October 28, London, England]
* The Percipient Image [October 28, London, England]
* Seven Easy Pieces By Marina Abramovic [October 28, London, England]
* Free Radical: the Films of Len Lye [October 28, Los Angeles, California]
* The Films of Lech Majewski [October 28, Los Angeles, California]
* Arabic Series 11-19 [October 28, New York, New York]
Events are sorted by CITY within each DATE.
--------------------------
SATURDAY, OCTOBER 20, 2007
--------------------------
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.
------------------------
SUNDAY, OCTOBER 21, 2007
------------------------
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.
------------------------
MONDAY, OCTOBER 22, 2007
------------------------
10/22
Seattle, Washington: Northwest Film Forum
http://www.nwfilmforum.org
7pm, 1515 12th Ave
AN EVENING WITH JAMES BENNING: ONE WAY BOOGIE / 27 YEARS LATER
Tickets $8/members, $10/general (James Benning, USA, 2005, 16mm, 120
min) In 1977, concerned about the decaying nature of his native
Milwaukee, James Benning shot ONE WAY BOOGIE WOOGIE, an hour long film
composed of 60 shots of industrial urban landscape: smokestacks,
sidewalks, three Volkswagens, people and animals here and there. In
characteristic fashion, Benning's apparently simple, static shots are
exercises in meticulous artistic composition, and his careful sequencing
ensures that the director's playful humor is given full expression.
Twenty-seven years later, Benning returned to Milwaukee to shoot "the
same film again."The shot-by-shot restaging uses very obviously
different stock - the colors are brighter and there's a distinctly
modern tone. Buildings are showing their age, or gone completely, and
the same is true of the people. Seen together, these two films offer a
cogent illustration of how America has changed in the intervening years,
fraying in places and gentrified in others. Benning's method and his
affinity with his subjects are extraordinary. He completely absorbs the
landscape, imbues it with geo-political and cultural relevance, and
re-presents it to us in a unique mix of formal rigor and mischievous
invention. NWFF is honored to have Benning in attendance to discuss this
work.
-------------------------
TUESDAY, OCTOBER 23, 2007
-------------------------
10/23
Portland, Oregon: Northwest Film Center
http://www.nwfilm.org/
7pm, 1219 SW Park Ave
VISITING ARTIST JAMES BENNING: ONE WAY BOOGIE WOOGIE 27 YEARS LATER
NW Film Center & 40 frames present: ONE WAY BOOGIE WOOGIE 27 YEARS LATER
US 1977 Director: JAMES BENNING Tue Oct 23 7:00 PM Whitsell Auditorium
"In 1977, concerned about the decaying nature of his native Milwaukee,
Benning shot ONE WAY BOOGIE WOOGIE, an hour-long film composed of 60
shots of industrial urban landscape: smokestacks, sidewalks, three
Volkswagens, people few and far between, an animal here and there. In
characteristic fashion, Benning's apparently simple, static shots are
exercises in meticulous painterly composition, and their careful
sequencing ensures that the director's playful humour is given full
expression. For 27 YEARS LATER, Benning returned to Milwaukee to shoot
'the same film again'. The shot-by-shot re-staging uses very obviously
different stock —the colours are brighter, there's a distinctly modern
tone. Buildings are showing their age, or gone; people likewise. Seen
together, these two films offer a cogent illustration of how America has
changed in the intervening years, fraying in places, gentrified in
others. Benning's method, and his affinity with his subjects is
extraordinary—as if he completely absorbs the landscape, imbues it with
geo-political and cultural relevance, and re-presents it to us in a
unique mix of formal rigour and mischievous invention."—LONDON FILM
FESTIVAL. (121 min) James Benning will introduce the film. Co-sponsored
by Portland State University English Department, Film Studies Minor.
10/23
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www.berksfilmmakers.org
7:30 pm, Albright College
SINS OF THE FLESHAPOIDS: MIKE KUCHAR IN PERSON
Sins of the Fleshapoids (1965, 43 min.) by MIKE KUCHAR and recent
mini-DV shorts. When reminded that this film was considered a "camp
classic" and of Sontag's famous 1964 essay, Kuchar replied: "I've never
read "Notes On Camp." My own definition of the word is this: you pitch
your tent (camera and crew) in an established theme-park. In the case of
Sins of the Fleshapoids we pitched our tent on sci-fi comic book
territory and the Hollywood style of movie-making. Then you go on
holiday with that established form, consciously accentuating the
artificiality inherent in the styles and techniques they used to
manipulate the audience. Thus the soundtrack music becomes loud and
obvious, make-up is over-applied or blatantly mis-applied, and the
actors are obviously "acting," or even better, they can't act at all!
…its a sort of vandalism, a form of good natured sabotage."—Jack
Stevenson interview. "George and Mike Kuchar's films were my first
inspiration. George's Hold Me While I'm Naked, Mike's Sins of the
Fleshapoids—these were the pivotal films of my youth, bigger influences
than Warhol, Kenneth Anger, even The Wizard of Oz."—John Waters
10/23
San Francisco, California: SFAI Film Salon
7:30pm , SFAI Lecture Hall, 800 Chestnut Street
HELLZAPOPPIN'
Halloween comes a little early with this collection of over-the-top film
fantasias. Tscherkassky's Outer Space creates wild Man-ray-o-grams from
an old Barbara Hershey horror vehicle, Ilppo Pohjola and Merzbow join
forces in Routemaster to portray the vehicular horror of the racetrack,
and Peggy Ahewesh's Scary Movie reverses the Lacanian lack. Plus a few
eye-popping treasures from the archives.
---------------------------
WEDNESDAY, OCTOBER 24, 2007
---------------------------
10/24
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
7 PM, 1871 N. High St.
SEASONS OF MACDOWELL (2007)
Founded in 1907 in New Hampshire, the MacDowell Colony is the country's
first artist residency program. To commemorate its 100th anniversary,
the colony commissioned four past residents to create short films to
mark the four seasons. Each participant represents—and employs—a
different style of filmmaking. They are Michael Almereyda (narrative),
George Griffin (animation), Elisabeth Subrin (experimental), and David
Petersen (documentary). (60 mins., video)
10/24
Freiburg i. Br.: Kommunales Kino Freiburg
http://www.richfilm.de/currentUpload/framesArchitekturtage.html
9:30 pm, Im Alten Wiehre Bahnhof, Urachstr. 40, 79102 Freiburg, Germany
SLOW SPACE
Slow Space Synopsis (English text) Slow Space takes the viewer on a
visual trip through places of glass architecture in Chicago. Filmed
entirely within the urban constructed environment that makes up this
contemporary North American city, Slow Space is a visually arresting
investigation into how space is described, defined and ultimately
experienced. Berlin filmmaker Klaus W. Eisenlohr commutes this
relationship with the outside 'world' via an array of constructed
transparencies in the glass domes and atriums that formed so much of
architecture's modernist preoccupation for a constructed inside/outside
dialectic. Descriptions and ultimately opinions on the status of public
space in Chicago form part of the film's identity via a series of
interviews conducted from the participant's private domains. Street
scenes with performers complement this film essay. With his project in
Chicago, the artist Klaus W. Eisenlohr has investigated the relationship
between the body and the urban architectural environment over the time
period of three years. -/- Reading Architecture Series: Two film
screenings and one exhibition of Klaus W. Eisenlohr are being presented
in Freiburg, as part of the series at Alter Wiehre Bahnhof. Kommunales
Kino Freiburg and Architecture Days of Alsace and Baden-Württemberg host
these shows concerned with architecture and urban space.
http://www.richfilm.de/currentUpload/framesArchitekturtage.html
10/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
HELEN HILL MEMORIAL
Dir: HELEN HILL. This program of newly-preserved short films made by New
Orleans-based filmmaker Helen Hill includes animated and experimental
works made between 1990 and 2006. Because she never used a distributor
and because much of her creative work was damaged or lost in the
post-Katrina floods of 2005, it's a small miracle that so much of her
output is suddenly available, and in vivid new 16mm prints. When her
tragic death made headlines at the beginning of this year, it quickly
became clear how many people Helen Hill's work and life had affected.
Among the outpourings of affection and tribute was the collective effort
of many who came together to make this preservation and restoration work
happen: Colorlab, Harvard Film Archive, BB Optics, New York University,
the University of South Carolina, and the Center for Home Movies. .
Helen Hill's films are hand-drawn, figurative pieces infused with humor
and a loving spirit. Many blend live-action with pixilation, cut-out,
and cell animation. Collectively they are a batch of utopian love
letters, addressed to particular people, communities, and the world.
--------------------------
THURSDAY, OCTOBER 25, 2007
--------------------------
10/25
Chicago, Illinois: Conversations at the Edge
http://www.siskelfilmcenter.org/
6:00 pm, 164 N. State St.
AT THE HEART OF A SPARROW: VIDEOS BY BARRY DOUPÉ
Co-presented by the Video Data Bank Barry Doupé in person! The
unnervingly seductive videos of Vancouver-based artist and animator
Barry Doupé blend painterly skill with the look of early 3-D video games
in gothic dreamscapes, at once familiar and forever out of reach. Pegged
as one of Canada's rising stars, with screenings across North America
and Europe, Doupé is also a member of The Lions, a collaborative drawing
group gaining notoriety for their evocative "exquisite corpse"
illustrations and watercolors. Tonight's program features a selection of
Doupé's animation and a glimpse at his latest work-in-progress. In BOY
ON A DOCK BLOWING HIS NOSE (2004), opaque figures drift in muggy pools
of pastel watercolors; a deer-child is subjected to a series of
increasingly cruel tests in AT THE HEART OF A SPARROW (2006); and the
Oedipal drama is repeated ad infinitum in DISTRAUGHT MOTHER REUNITES
WITH HER CHILDREN (2005). (200406, Canada, Beta SP video, ca 70 min)
10/25
London, England: London Film Festival
http://www.lff.org.uk
10am, BFI Southbank, Belvedere Road, SE1 8XT
DAVID GATTEN: THE IMAGE & THE WORD (WORKSHOP)
Throughout the history of cinema, images and text have been combined
on-screen in a variety of ways and for a range of reasons. Silent-era
comedy, mid-century newsreels, avant-garde films and home movies have
used words to tell stories, convey facts and explore the enjoyments and
anxieties of reading. In this day-long workshop, Brooklyn artist DAVID
GATTEN will provide an overview of such practice, with particular
attention to filmmakers who have deployed on-screen text to investigate
the way text functions as both image and language, the border between
the legible and illegible, and the limits of what can be known through
words. David Gatten has made prominent use of the printed word in the
ongoing series "The Secret History of the Dividing Line" (sections
screened at the LFF in previous years) and his recent "Film for
Invisible Ink, Case No: 71: Base-Plus-Fog" (showing in the Festival on
28 October 2007). Following introductory screenings of relevant works,
participants will make their own films using a variety of processes,
including direct-on-film applications, ink-and-cellophane tape
transfers, slide projections, close-up cinematography, in-camera contact
printing and more. The workshop is suitable for both beginners and
experienced practitioners. Presented in association with no.w.here.
Places are extremely limited, so book early to avoid disappointment.
10/25
London, England: Whitechapel Gallery
http://www.whitechapel.org
7.30pm, Whitechapel Gallery, 80-82 Whitechapel High Street, London E1 7QX
NEW WORK UK: TRUST YOURSELF
New Work UK: TRUST YOURSELF Curated by Lina Dzuverovic, director of the
London based contemporary arts agency ELECTRA. Michelle Deignan, Chia-En
Jao, Yaron Lapid, Flávia Müller Medeiros, Harold Offeh, Uriel Orlow, The
programme comprises video work made between 2003 and 2007 by six UK
based artists. It takes us on a geographically dispersed journey on
which we encounter fictional and real characters whose stories and
messages introduce a range of storytelling modes. Taking risks in their
delivery, the works range from intimate accounts of personal
experiences, pseudo reportages delivered by 'official' voices to oddly
conveyed political messages and performative public actions. The works
in the programme shake up our expectations of how narratives are
communicated making us suspend our trust in the narrator and our
immediate responses. These works cause the viewer to re-think assumed
positions and examine how the delivery of information affects the
reading of the content. Programme: Yaron Lapid You Have Not Found His
Riddle (2003), 12' 39'' Chia-En Jao Father's Tongue (2007), 5' 33''
Uriel Orlow The Visitor (2007) 15' 58'' Flávia Müller Medeiros Fight
The Enemy Abroad So We Don't Have To Face Them at Home (2005), 1'20''
Michelle Deignan Red Cheeks (2006), 9' 26'' Harold Offeh Haroldinho
(2003), 12' Michelle Deignan- Il Cittadino (2007) 8' 46'' Total Running
Time: 65 minutes followed by a discussion with artists and the curator.
10/25
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www.berksfilmmakers.org
7:30 pm, Albright College
OPEN SCREENING
Bring your own films, tapes or discs; time permitting, all works will be
screened
10/25
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, The Exploratorium, 3601 Lyon Street (at the Palace of Fine Arts)
BRUCE MCCLURE: LIT CAVITIES IN THE FACE OPEN THEIR GLASSY EMBRACE TO
RECEIVE YOU
"STRUCTURE is derived through the division of a whole into parts. In my
cinematic equation formal considerations are directed towards the
projector where the convergence of light lines and sound evolve into an
interactive play between ourselves and the character of this phenomenal
apparatus. Film, meanwhile, is a cinematic server, carrying meaning by
sheer presence." (Bruce McClure) Running custom-made film loops through
a three-deep array of modified projectors, Brooklyn-based projectionist/
performer Bruce McClure creates immersive sound/light experiences which
reach far beyond the cinematic ecstasy, fusing sound and image in
hallucinatory frenzy. Screening: Rack & Slide; Nethergate
------------------------
FRIDAY, OCTOBER 26, 2007
------------------------
10/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)
UP AND OUT
Dir: Christian Marclay. Image track: BLOW-UP (1966) by Michelangelo
Antonioni. Sound track: BLOW OUT (1981) by Brian De Palma. "The creative
premise of UP AND OUT is stupefyingly simple. Christian Marclay lifts
the picture from Antonioni's BLOW-UP and the soundtrack from De Palma's
BLOW OUT (two movies which are not unrelated, the former about
photography and latent voyeurism, the latter about sound recording and
latent eavesdropping) and thrusts these partial cinematic systems along
unaccustomed courses of solitude. Each has been forcibly divorced from
the sounds or images of a now-absent partner, towards which its
structure and meaning were originally devised. In Marclay's video, they
never quite conjoin but relentlessly, and independently, hurry ahead to
their assigned ends. The clandestine liaisons which they occasionally
seem to carry on, vertically across time, occur only as conjurations of
the spectator's imagination.. "UP AND OUT is a Cage-ian gambit, a
forcing together by chance of two readymade elements which do not
necessarily belong in the same space. The thematic and rhythmic kinship
of one film to another (De Palma was a terrific student of his
predecessors) makes the coincidences all the more delectable and
persuasive. Marclay reveals the formulization of cinema to stand outside
our conventional notions of time. We are invited to introduce our
memories - the experience of watching movies, perhaps the experience of
watching these movies - complex temporal engagements which we habitually
suspend in the cinema. With UP AND OUT, Marclay submits the vectors of
time to perceptible scrutiny." -Ben Portis, Assistant Curator,
Contemporary Art, Art Gallery of Ontario, Toronto. Published in
CHRISTIAN MARCLAY: CINEMA, Oakville Galleries, Oakville (Ontario) 2000.
10/26
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, The Exploratorium, 3601 Lyon Street (at the Palace of Fine Arts)
BRUCE MCCLURE: DOWN THE PHOTOSLOPE IN SYNOPANC PULSES
"STRUCTURE is derived through the division of a whole into parts. In my
cinematic equation formal considerations are directed towards the
projector where the convergence of light lines and sound evolve into an
interactive play between ourselves and the character of this phenomenal
apparatus. Film, meanwhile, is a cinematic server, carrying meaning by
sheer presence." (Bruce McClure) Running custom-made film loops through
a three-deep array of modified projectors, Brooklyn-based projectionist/
performer Bruce McClure creates immersive sound/light experiences which
reach far beyond the cinematic ecstasy, fusing sound and image in
hallucinatory frenzy. Screening: Evertwo Circumflicksrent …page 298;
Pierced But Not Punctured; Unnamed Complement
10/26
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
3:00pm, SFMOMA, 151 Third Street
JOSEPH CORNELL: COLLABORATIONS AND CINEMATIC INFLUENCES
While Cornell's best known films are collages of pre-existing material
produced in relative privacy, Cornell briefly collaborated with
filmmakers Stan Brakhage, Rudy Burckhardt and Lawrence Jordan, deeply
influencing the work of each of these significant artists. This program
presents a sampling of this collaborative work with a selection of
recent works continuing Cornell's fascinations with film, the found
object and the magic of the everyday. Screening: Two films by Lawrence
Jordan: Cornell, 1965, a rare film portrait of the artist and Our Lady
of the Sphere; Centuries of June and Wonder Ring by Stan Brakhage (and
Cornell's response to the latter, GniR RednoW); What Mozart Saw on
Mulberry Street by Rudy Burckhardt (assembled from footage shot for
Cornell's Mulberry Street); The Secret Story by Janie Geiser; flower,
the boy, the librarian by Stephanie Barber; What Makes Day and Night by
Jeanne Liotta; Her Fragrant Emulsion by Lewis Klahr; Oona's Veil by
Brian Frye; and Cornell's own Rose Hobart.
(continued in next email)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.