From: Weekly Listing (email suppressed)
Date: Sat Nov 24 2007 - 16:43:54 PST
This week [November 24 - December 2, 2007] in avant garde cinema
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"FBI WARNING!! (The New Jedi Order 2007 Transmission)" by Johnny
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JOB AVAILABLE:
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College of Santa Fe
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Southern Illinois University. Carbondale
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York University, Dept of Film
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Moviola Flatbed 6-plate
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NEW CALLS FOR ENTRIES:
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HDFEST (Orlando, FL; Deadline: March 03, 2008)
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Magmart Festival (Naples, Italy; Deadline: December 31, 2007)
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BYOTV (Portland, OR, USA; Deadline: January 15, 2008)
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Cyprus International Short Film Festival (Nicosia, Cyprus; Deadline: January 30, 2008)
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DEADLINES APPROACHING:
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CinemaJAZZ (Kansas City, MO USA; Deadline: December 01, 2007)
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Kansas City Filmmakers Jubilee (Kansas City, MO USA; Deadline: December 01, 2007)
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Boston Underground Film festival (Boston, Ma ; Deadline: December 14, 2007)
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Media City (Windsor ON Canada; Deadline: November 30, 2007)
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Fargo Film Festival (Fargo, ND, USA; Deadline: December 01, 2007)
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Studio 27 (San Francisco, CA USA; Deadline: December 15, 2007)
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Portland Documentary & eXperimental Film Festival (PDX Fest) (Portland, Oregon USA; Deadline: December 14, 2007)
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* European Surrealism and the American Avant-Garde Cinema [November 24, Los Angeles, California]
* Cinematheque Ontario Presents Shoot Shoot Shoot Programme 1 [November 24, Toronto, Ontario, Canada]
* The Sinema of Nick Zedd [November 25, Brooklyn, New York]
* Cinematheque Ontario Presents Shoot Shoot Shoot Programme 2 [November 25, Toronto, Ontario, Canada]
* "1 Minute (+) Films From the Film-Makers' Cooperative" [November 26, New York, New York]
* Cinema Project Loves Hollis Frampton!!! [November 26, Portland, Oregon]
* Cinema Project Loves Hollis Frampton!!! [November 27, Portland, Oregon]
* Desperate Living [November 27, Reading, Pennsylvania]
* Messages [November 27, San Francisco, California]
* Lost and Found: the Films of Arthur Lipsett, Curated By Brett Kashmere [November 27, Strasbourg]
* Ny Experimental Presents: Supermarket [November 28, New York, New York]
* At Sea [November 29, Chicago, Illinois]
* Open Screening [November 29, Reading, Pennsylvania]
* Strange Codes: Canadian Collage Film & video After Lipsett, Curated By
Brett Kashmere [November 29, Strasbourg, France]
* A Tribute To R. Bruce Elder At Cinematheque Ontario [November 29, Toronto, Ontario, Canada]
* Strange Codes: Arthur Lipsett & the Canadian Collage Tradition, Curated
By Brett Kashmere [November 30, Belfort, France]
* Joseph Cornell: Essential Cinema From Anthology Film Archives: Program
One [November 30, San Francisco, California]
* "The Cinema of the Unusual": Jud Yalkut Films 1965-1972 [December 1, New York, New York]
* Ny Experimental Presents: Collaborative Music video Workshop [December 1, New York, New York]
* Negativland's Our Favorite Things + [December 1, San Francisco, California]
* Filmforum Presents Films By Robert Nelson, Part 1 [December 2, Los Angeles, California]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, NOVEMBER 24, 2007
---------------------------
11/24
Los Angeles, California: Los Angeles County Museum of Art
http://www.lacma.org/programs/FilmSeriesSchedule.aspx
7:30 pm, 5905 Wilshire Boulevard
EUROPEAN SURREALISM AND THE AMERICAN AVANT-GARDE CINEMA
7:30 PM Surrealist Favorites from Hollywood: Portrait of Jennie :
1948/b&w and color/86 min. | Scr: Paul Osborn and Peter Berneis; dir:
William Dieterle; w/ Jennifer Jones, Joseph Cotten, Lillian Gish. The
post-war surrealists were unanimous in their admiration for this 'small'
film about an unsuccessful painter obsessed with a captivating young
woman whose past and present are cloaked in mystery. Conceived as a
showcase for his protégé's (later wife) talent and beauty, Portrait is
one of producer David O. Selznick's most visually elegant and
dramatically restrained films. The film won an Academy Award for its
special effects. "A mysterious, poetic and largely misunderstood work."
– Luis Buñuel. 9:10 PM Surrealist Favorites from Hollywood: Pandora and
the Flying Dutchman : 1951/color/122 min. | Scr/dir: Albert Lewin; w/
James Mason, Ava Gardner. The legend of a seventeenth-century Dutchman
condemned to sail the seas in search of a woman whose sacrifice will
release him, is updated to Spain in the 1930s and set in a fishing
village where the winding streets bathed in moonlight and a mysterious
yacht moored in the port provide an ideal backdrop. For Albert Lewin,
the Hollywood producer, writer and director who was both a friend of the
surrealists and a collector of their art, Pandora was an aesthetic
triumph in which baroque sets, lavish costumes, paintings by Man Ray (he
was also the stills photographer), heightened colors, arresting 'modern'
shapes, and surrealist motifs coalesced into a fantasy world populated
by flawed gods and goddesses.
11/24
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
9:30 p.m., Jackman Hall, 317 Dunsdas Street West
CINEMATHEQUE ONTARIO PRESENTS SHOOT SHOOT SHOOT PROGRAMME 1
The Sixties and Seventies were groundbreaking decades in which
independent filmmakers challenged cinematic convention. In England, much
of the innovation took place at the London Film-Makers= Co-operative, an
artist-led organization that enabled filmmakers to control every aspect
of the creative process. LFMC members conducted an investigation of
celluloid that echoed contemporary developments in painting and
sculpture. During this same period, British filmmakers also made
significant innovations in the field of "expanded cinema," creating
multi-screen projections, film environments, and live performance
pieces. The physical production of a film (its printing and processing)
became integral to its form and content as Malcolm Le Grice, Lis Rhodes,
Peter Gidal, and others explored the material and mechanics of cinema,
making radical new works that contributed to a new visual language. The
London Film-Makers= Co-operative, which was established on 13th October
1966, grew from a film society at the heart of London=s Sixties
counterculture to become Europe=s largest distributor of experimental
cinema and was recognized internationally as a major centre for
avant-garde film. – Mark Webber. SHOOT SHOOT SHOOT: PROGRAMME 1. SLIDES,
Director: Annabel Nicolson (UK 1970 11 minutes silent), AT THE ACADEMY,
Director: Guy Sherwin (UK 1974 5 minutes), SHEPHERD'S BUSH, Director:
Mike Leggett (UK 1971 15 minutes), FILM NO. 1, Director: David
Crosswaite (UK 1971 10 minutes), DRESDEN DYNAMO, Director: Lis Rhodes
(UK 1971 5 minutes), VERSAILLES I & II, Director: Chris Garratt (UK 1976
11 minutes), SILVER SURFER, Director: Mike Dunford (UK 1972 15 minutes),
FOOTSTEPS, Director: Marilyn Halford (UK 1974 6 minutes).
-------------------------
SUNDAY, NOVEMBER 25, 2007
-------------------------
11/25
Brooklyn, New York: East Coast Aliens
http://nickzedd.com
9 PM, 216 Franklin Street off Huron (G train to Greenpoint Ave)
THE SINEMA OF NICK ZEDD
The Sinema of Nick Zedd presents The Wild World of Lydia Lunch and The
Right Side of My Brain along with Tom Thumb in the Land of the Giants at
East Coast Aliens, 216 Franklin St Brooklyn (352)-284-7722. Films by
Nick Zedd & R. Kern starring Lydia Lunch, Henry Rollins, Jim Foetus and
others. $6 cheap
11/25
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
5:00 p.m., Jackman Hall, 317 Dunsdas Street West
CINEMATHEQUE ONTARIO PRESENTS SHOOT SHOOT SHOOT PROGRAMME 2
THRESHOLD, Director: Malcolm Le Grice (UK 1972 10 minutes), SEVEN DAYS,
Director: Chris Welsby (UK 1974 20 minutes), KEY, Director: Peter Gidal
(UK 1968 10 minutes), MOMENT, Director: Stephen Dwoskin (UK 1968 12
minutes), DECK, Director: Gill Eatherley (UK 1971 13 minutes), COLOURS
OF THIS TIME, Director: William Raban (UK 1972 3 minutes silent),
ASSOCIATIONS, Director: John Smith (UK 1975 7 minutes).
-------------------------
MONDAY, NOVEMBER 26, 2007
-------------------------
11/26
New York, New York: Film-Makers' Cooperative
http://www.film-makerscoop.com
7:30 PM, Collective:Unconscious / 279 Church Street
"1 MINUTE (+) FILMS FROM THE FILM-MAKERS' COOPERATIVE"
Jewels and Gems from The Film-Makers' Coop presents: "1 Minute (+) Films
From the Film-Makers' Cooperative" "Brevity is the soul of wit," writes
Shakespeare. Hearing praise that Shakespeare had never blotted a line,
replied Ben Jonson, "Would he had blotted a thousand." Chopin's opus 64,
No. 1 is known as the "minute waltz," but the title is apocryphal. The
"Minutemen" were a militia during the Revolutionary War, a term co-opted
today by ultra-right wing groups despite the connotation of lack of
stamina. The Lumiere camera held about a minute of film. The Residents
Commercial Album consists of 40 songs each exactly one minute in
duration. How many seconds are in a "New York minute"? Here are the
one-minute films from the Coop. And a few one-and-a-half minute films
too, included at the risk of challenging our limited attention spans.
Yes, it's curating-by-numbers. The number "1 minute". The variety of
filmmakers, familiar and unfamiliar, the works recent and not, the range
of themes and approaches, show the range of what can be crammed into 60
seconds. Is it "quality not quantity"? A haiku is seventeen syllables.
Yet it is doubtful that sitting down to write a thirty-four syllable
haiku would create one twice as good for the doubling of its meter.
Maybe a minute was all that was needed. Some work might be to our taste
and some not, but with a screening of one-minute films we may not have
to have our patience taxed. Said Mark Twain, "If you don't like the
weather in New England, just wait a few minutes." Filmmakers included:
Caroline Avery /Bruce Baillie / Tom Bessoir / Frank Biesendorfer /
Robert Breer / Don Duga / James Fotopoulos / Hollis Frampton / George
Griffin / Henry Hills / Daniel Kazimierski / Kurt Kren / Hans D. Michaud
/ Jeff Scher / Joel Schlemowitz / Stan Vanderbeek / Lloyd M. Williams /
Tung Wang Wu / and others
11/26
Portland, Oregon: Cinema Project
http://www.cinemaproject.org/
7:30 pm, 922 SE Ankeny
CINEMA PROJECT LOVES HOLLIS FRAMPTON!!!
MAGELLAN—FILMS BY HOLLIS FRAMPTON november 26 + 27 | 7:30PM 922 SE
Ankeny Portland Oregon USa Magellan, Hollis Frampton's most ambitious
and complex film project, is generally less recognized than his other
work, and its invisibility is understandable. The spectator who
approaches the unfinished Magellan confronts only fragments; the
completed Magellan films comprise only about 8 out of the 36 hours
planned. Moreover, Frampton intended Magellan to be a calendrical cycle,
with specific films to be shown on each day of the year—properly viewed
it would be 369 days long. Metaphorically modeled on Ferdinand
Magellan's exploratory circumnavigation of the world, the project
aspired to remarkable aesthetic, historiographic, and conceptual
challenges to cinema and perception. november 26 + 27
Noctiluca(Magellan's Toy's)[1974, 16mm, color, sil., 4 min] Autumnal
Equinox (Solariumagelani) [1974, 16mm, color, silent, 27 min] Otherwise
Unexplained Fires[1976, 16mm, color, sil., 14 min] Mindfall Parts I & VI
(Birth of Magellan) [1980, 16mm, color, sound, 36 min]
--------------------------
TUESDAY, NOVEMBER 27, 2007
--------------------------
11/27
Portland, Oregon: Cinema Project
http://www.cinemaproject.org/
7:30 PM, 922 SE Ankeny
CINEMA PROJECT LOVES HOLLIS FRAMPTON!!!
HOLLIS FRAMPTON -- Films from the Magellan Cycle November 26 + 27 2007
Magellan, Hollis Frampton's most ambitious and complex film project, is
generally less recognized than his other work, and its invisibility is
understandable. The spectator who approaches the unfinished Magellan
confronts only fragments; the completed Magellan films comprise only
about 8 out of the 36 hours planned. Moreover, Frampton intended
Magellan to be a calendrical cycle, with specific films to be shown on
each day of the year—properly viewed it would be 369 days long.
Metaphorically modeled on Ferdinand Magellan's exploratory
circumnavigation of the world, the project aspired to remarkable
aesthetic, historiographic, and conceptual challenges to cinema and
perception. Noctiluca (Magellan's Toy's) [1974, 16mm, color, silent, 4
min] Autumnal Equinox (Solariumagelani) [1974, 16mm, color, silent, 27
min] Otherwise Unexplained Fires [1976, 16mm, color, silent, 14 min]
Mindfall Parts I & VI (Birth of Magellan) [1980, 16mm, color, sound, 36
min]
11/27
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www.berksfilmmakers.org
7:30 pm, Albright College
DESPERATE LIVING
Desperate Living (1977, 71 min.) by JOHN WATERS. "Indubitably John
Waters' finest work… starring Mink Stole as the newly-released mental
patient Peggy Gravel and Jean Hill as her lethal fat-bottomed maid,
Grizelda. Following the accidental murder of Mr. Gravel—Grizelda sits on
his face—the odd couple must escape to Mortville, a mythical shanty-town
ruled by the vicious Queen Carlotta (Edith Massey). Waters never again
equaled the sublime humor of this grotesque fairy tale. From nude
pogo-stick jumping to the spectacle of Backwards Day, Desperate Living
is, and I am not being ironic, a masterpiece.—Jamie Hook, The Portland
Mercury. Audience beware: this is not Waters "lite" (eg., Hairspray, the
musical), it is shockingly unadulterated and subversive filmmaking:
definitely not for young kids. "John Waters is the pope of
trash."—William Burroughs
11/27
San Francisco, California: SFAI Film Salon
7:30pm, SFAI Lecture Hall, 800 Chestnut Street
MESSAGES
The incisiveness and discoveries of childhood inspire an exploration of
language, perception and the making of meaning in the world, in Guy
Sherwin's Messages. Steve Roden's Anything Else and/ or Nothing at All
creates new meaning be means of reinterpreting a music score into a
layered work of image, mark, sound and voice. Messages, Guy Sherwin,
1983, 34 min. Anything Else and/or Nothing at All, Steve Roden, 15 min.
plus two films by Robert Breer Steve Roden's film courtesy of Susanne
Vielmetter Los Angeles Projects More info: email suppressed or
email suppressed
11/27
Strasbourg: Musee d'art moderne et contemporain de Strasbourg
http://www.musees-strasbourg.org/F/auditorium/audi_cine.html
8pm, Musee d'art moderne et contemporain de Strasbourg, 1 place Hans Jean Arp
LOST AND FOUND: THE FILMS OF ARTHUR LIPSETT, CURATED BY BRETT KASHMERE
Arthur Lipsett recognized cinema's ability to reveal the ugly side of
life, the things we don't want to acknowledge: the refuse. By pursuing
truth within the everyday, Lipsett also discovered beauty in the basic
and the absurd. Utilizing found materials in concert with self-shot
photos and footage, his films transform the fragmentary nature of refuse
into a unified material vision. This program brings together Lipsett's
first five celluloid compositions, produced at the National Film Board
of Canada across the 1960s. These films, which represent the primary arc
of his artistic evolution, exemplify how pictures and sounds can be
fused in a synthetic yet sincerely personal form. FILMS include: VERY
NICE, VERY NICE (1961, 16mm, b&w, 7 min); A TRIP DOWN MEMORY LANE (1965,
16mm, b&w, 12 min); 21-87 (1964, 16mm, b&w, 10 min); FREE FALL (1964,
16mm, b&w, 9 min); FLUXES (1968, 16mm, b&w, 24 min); N-ZONE (1970, 16mm,
b&w, 43 min). Prints courtesy National Film Board of Canada. More info:
http://www.brettkashmere.com/arthur_lipsett.html
----------------------------
WEDNESDAY, NOVEMBER 28, 2007
----------------------------
11/28
New York, New York: The Tank
http://www.thetanknyc.org/film
7:00 PM (Doors), 279 Church Street
NY EXPERIMENTAL PRESENTS: SUPERMARKET
From Super8 abstractions to video-sampled mash-up fronted by a keyboard
player and a VJ, Supermarket will be sharing its debut hybrid new-media
performances with select gallery shows in the USA and Canada in November
and December, 2007. This work was brought to light after a one month
artists' residency at Squeaky Wheel Media Arts Centre in Buffalo NY,
USA. The energy and vibrancy of the music and visual components of the
Supermarket work are designed to captivate and stimulate audiences, and
provoke enquiry about the systems, man-made and natural, that govern our
existence. The tone moves through shades of light and dark, sharing the
familiar and strange in equal measure. In the past few years Dan Monceax
and Emma Sterling have been working on a number of experimental
audiovisual works. Their 16 minute experimental documentary short 'A
Shift in Perception', shot entirely on Super8 film is currently
completing a successful international film festival and gallery circuit,
including screenings in over thirty countries. The film has won awards
in Australia, the USA, the UK, France, Mexico and Canada (including four
for 'Best Film') and has toured the USA with the prestigious Black Maria
Film & Video Festival. Supported by the Southern Australian Youth Arts
Board and the Southern Australian Film Corporation respectively, Dan and
Emma attended IDFA last November where 'A Shift in Perception' enjoyed
its international. The two recently completed a month long artists'
residency at Squeaky Wheel, Buffalo, New York in October, where they
tinkered with experimental image making, animation and VJing. After
launching a new body of work entitled 'Supermarket' with Dan Monceaux at
the end of the residency, the pair will be performing the audio-visual
work at venues across Canada and the USA until mid December. For more
information about the artists please visit:
http://www.danimations.com.au.
---------------------------
THURSDAY, NOVEMBER 29, 2007
---------------------------
11/29
Chicago, Illinois: Conversations at the Edge
http://www.siskelfilmcenter.org/
6:00 pm, 164 N. State St.
AT SEA
Peter Hutton in person! Renowned for his exquisitely photographed land-
and cityscapes, Peter Hutton's latest film is an epic story of the
birth, life, and death of the modern container ship. Shot over a period
of three years, AT SEA opens on a hyper-modern South Korean shipyard,
where supertankers loom over the workers who build them, then journeys
through the swells and storms of the North Atlantic, and closes on a
maritime grave in Bangladesh where ship breakers scrap the beached
leviathans piece by piece under medieval conditions. Beautifully shot
and keenly observed, Hutton's film showcases the environmental and human
dramas that play out in the life cycle of this invisible engine of
globalization and modern-day Noah's Ark. (2007, Peter Hutton, USA, 16mm,
60 min)
11/29
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.
11/29
Strasbourg, France: Musee d'art moderne et contemporain de Strasbourg
http://www.musees-strasbourg.org/F/auditorium/audi_cine.html
8pm, Musee d'art moderne et contemporain de Strasbourg, 1 place Hans Jean Arp
STRANGE CODES: CANADIAN COLLAGE FILM & VIDEO AFTER LIPSETT, CURATED BY
BRETT KASHMERE
Arthur Lipsett was working at a time when independent avant-garde
filmmaking did not exist in Canada, with a few isolated exceptions –
Jack Chambers in London, Ontario; David Rimmer and Al Razutis in
Vancouver; Joyce Wieland and Michael Snow, who jointly relocated from
Toronto to New York in 1963. In the absence of tradition, Lipsett blazed
a new trail. His pioneering collage films imparted exciting
possibilities for handmade, cameraless and found footage filmmaking,
both in his time and in the present day. Extending upon his applications
of vertical montage (the moment-to-moment juxtaposition of picture and
sound), the Canadian collage film and video that follows Lipsett is
marked by greater formal manipulation and layering, combined with, in
some cases, autobiographical, poetic, and emotional subject matter.
FILMS include: ROSE (Rick Hancox, 1968, 16mm, color, 3 min); HANDTINTING
(Joyce Wieland, 1967, 16mm, color, silent, 6 min); HYSTERIA (Christina
Battle, 2006, 35mm, b&w, 3.5 min); THE BABBLE ON PALMS (Steven Woloshen,
2001, 35mm, color/b&w, 4 min); C:WON EYED JAIL (Kelly Egan, 2005, 35mm,
color, 5 min); GIRL FROM MOUSH (Garine Torossian, 1993, 16mm, color, 6
min); FUGITIVE L(I)GHT (Izabella Pruska-Oldenhof, 16mm, 2005, color, 8.5
min); LE BOMBARDEMENT LE PORT DES PERLES (Richard Kerr, 35mm transferred
to DV, color, 9 min); READY TO COPE (Aleesa Cohene, 2006, mini DV,
color, 6.5 min, from Vtape); ICON (Alissa Firth-Eagland, 2003, mini DV,
color, 1.5 min, from Vtape); I STOLE THE SOUL OF ROCK N ROLL (Tasman
Richardson, 2005, mini DV, color, 6 min, from Vtape). TRT: 65 minutes,
from Canadian Filmmakers Distribution Centre, unless indicated
otherwise. More info: http://www.brettkashmer.com/arthurlipsett.html
11/29
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:30 p.m., Jackman Hall, 317 Dundas Street West
A TRIBUTE TO R. BRUCE ELDER AT CINEMATHEQUE ONTARIO
A TRIBUTE TO R. BRUCE ELDER: WINNER OF THE 2007 GOVERNOR GENERAL'S AWARD
FOR MEDIA ARTS. "History teaches us that those who wait in despair are
very close to discovery and that anguish itself is very close to
insight." – R. Bruce Elder. R. Bruce Elder is not only one of Canada's
foremost experimental filmmakers, he's one of our greatest artists,
thinkers, critics, and filmmakers, period. It's fitting, then, that
Elder, shortly after garnering the Governor General's Award for Media
Arts earlier this year, was appointed a Fellow by the Royal Society of
Canada, thereby receiving formal recognition for both his impressive
artistic and scholarly contributions to our national cultural landscape.
In a country noticeably quiet about our manifestos, Elder has made a
stir over the years with his dizzyingly epic and provocative output, in
film, and in print. His incomparable interrogations of history (and its
follies) have spawned the colossal quartet THE BOOK OF ALL THE DEAD
(1975-94), a forty-two-hour film cycle spanning eighteen years of
production that has secured his international reputation. He has since
maintained a prolific pace through his seemingly inexhaustible passion
for writing, filmmaking, and teaching – one that continues to inform the
independent filmmaking scene in Canada. Please join us in honouring R.
Bruce Elder's recent achievements, as Cinematheque Ontario presents the
world premiere of THE LITTLE PRINCE, the fifth film in his THE BOOK OF
PRAISE cycle. – Andréa Picard. FREE SCREENING! THE LITTLE PRINCE,
Director: R. Bruce Elder (Canada 2007 125 minutes 16mm). "When I had
finished this film poem film, I heard someone speak of visions in
meditation, and what he said seemed particularly apposite: 'Imagine a
maelstrom,' he said, 'made of imagination, swirling round and round, a
maelstrom open at the top and bottom and bounded on the sides by the
nothingness of the unimagined. A beggar imagines himself sitting at the
edge of this maelstrom and imagines himself becoming aware that he is
sitting at the edge of this maelstrom, looking inward at this vortex,
observing beings – demonic forms, ghosts, animals, humans – first
rising, and then falling through the vortex. These transient beings, the
fleeting imaginings, he came to understand, have the character they do
because of his evanescent mental states. The fleeting mental states that
possess him determine whether these imagined beings will elevate his
perceptions/imaginings or whether these phantasms will draw him down
into the abyss.'" – R. Bruce Elder.
-------------------------
FRIDAY, NOVEMBER 30, 2007
-------------------------
11/30
Belfort, France: Espace multimedia Gantner
http://espacegantner.cg90.fr
3pm, Ecole d’art Gerard Jacot, 2 avenue de l'Espérance, Belfort
STRANGE CODES: ARTHUR LIPSETT & THE CANADIAN COLLAGE TRADITION, CURATED
BY BRETT KASHMERE
Arthur Lipsett was working at a time when independent avant-garde
filmmaking did not exist in Canada, with a few isolated exceptions –
Jack Chambers in London, Ontario; David Rimmer and Al Razutis in
Vancouver; Joyce Wieland and Michael Snow, who jointly relocated from
Toronto to New York in 1963. In the absence of tradition, Lipsett blazed
a new trail. His pioneering collage films imparted exciting
possibilities for handmade, cameraless and found footage filmmaking,
both in his time and in the present day. Extending upon his applications
of vertical montage (the moment-to-moment juxtaposition of picture and
sound), the Canadian collage film and video that follows Lipsett is
marked by greater formal manipulation and layering, combined with, in
some cases, autobiographical, poetic, and emotional subject matter.
FILMS & VIDEOS include: ROSE (Rick Hancox, 1968, 16mm, color, 3 min,
from CFMDC); VERY NICE, VERY NICE (Arthur Lipsett, 1961, 16mm, b&w, 7
min); HANDTINTING (Joyce Wieland, 1967, 16mm, color, silent, 6 min, from
CFMDC); A TRIP DOWN MEMORY LANE (Arthur Lipsett, 1965, 16mm, b&w, 12
min); GIRL FROM MOUSH (Garine Torossian, 1993, 16mm, color, 6 min, from
CFMDC); FUGITIVE L(I)GHT (Izabella Pruska-Oldenhof, 16mm, 2005, color,
8.5 min, from CFMDC); FREE FALL (Arthur Lipsett, 1964, 16mm, b&w, 9
min); READY TO COPE (Aleesa Cohene, 2006, mini DV, color, 6.5 min, from
Vtape); ICON (Alissa Firth-Eagland, 2003, mini DV, color, 1.5 min, from
Vtape); I STOLE THE SOUL OF ROCK N ROLL (Tasman Richardson, 2005, mini
DV, color, 6 min, from Vtape). TRT: 65 minutes, all Canada, prints
courtesy National Film of Canada, unless indicated otherwise. More info:
http://www.brettkashmere.com/arthur_lipsett.html
11/30
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
3:00pm, SFMOMA, 151 Third Street
JOSEPH CORNELL: ESSENTIAL CINEMA FROM ANTHOLOGY FILM ARCHIVES: PROGRAM
ONE
Shortly before his death in 1972, Cornell gifted his own films as well
as his extensive film collection to Anthology Film Archives. Much of
this work has been preserved by that institution and is exhibited
regularly at that venue. These programs represent two of these recurring
screenings."What Cornell's movies are is the essence of a home movie.
They deal with things very close to us, every day and everywhere. Small
things, not the big things. Not wars, not stormy emotions, dramatic
clashes or situations. His images are much simpler. [...] The boxes, the
collages, the home movies of Joseph Cornell are the invisible cathedrals
of our age. That is, they are almost invisible, as are all the best
things that man can still find today: They are almost invisible unless
you look for them." (Jonas Mekas, 1970) Screening: Rose Hobart,
Cotillion, The Midnight Party, The Children's Party, Aviary, Nymphlight,
A Legend for Fountains, Angel and GniR RednoW.
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SATURDAY, DECEMBER 1, 2007
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12/1
New York, New York: PS1/MOMA and Filmmakers Cooperative
http://www.ps1.org
4 p.m., 22-25 Jackson Ave. at 46th Ave., Long Island City, New York
"THE CINEMA OF THE UNUSUAL": JUD YALKUT FILMS 1965-1972
PS1/MOMA and the New York Filmmakers Cooperative present the second
program in "The Cinema of the Unusual" series with "Jud Yalkut Films
1965-1972" on Saturday, December 1, 2007 at 4 pm at PS1/MOMA
Contemporary Art Center, 22-25 Jackson Avenue at 46th Avnue in Long
Island City, New York. The program, all projected on film, subtitled
"Favorites & Lesser Known Treasures" includes: "Us Down by the
Riverside" and "Turn Turn Turn" (both featured in the Whitney's "Summer
of Love"; "Diffraction Film", "Le Parc"; "D.M.T."; "Moondial Fim" with
Aldo Tambellini; "P+A-I(K)" with Nam June Paik; "China Cat Sunflower"
with the Grateful Dead"; and "Planes" for Trisha Brown with Simone
Forti. The filmmaker will be present. (718) 784-2084 or www.ps1.org.
12/1
New York, New York: The Tank
http://www.thetanknyc.org/film
3:00 PM, 279 Church Street
NY EXPERIMENTAL PRESENTS: COLLABORATIVE MUSIC VIDEO WORKSHOP
This collaborative workshop will empower media makers to create their
own music videos to music from independent electronic musicians. Emma
Sterling and Dan Monceaux will provide and discuss examples of
experimental approaches to the music video form (no 'band-in-a-room'
clips here) and get you thinking outside the square. Follow-up
production consultation included. Session will run approximately 3
hours. In the past few years Dan Monceax and Emma Sterling have been
working on a number of experimental audiovisual works. Their 16 minute
experimental documentary short 'A Shift in Perception', shot entirely on
Super8 film is currently completing a successful international film
festival and gallery circuit, including screenings in over thirty
countries. The film has won awards in Australia, the USA, the UK,
France, Mexico and Canada (including four for 'Best Film') and has
toured the USA with the prestigious Black Maria Film & Video Festival.
Supported by the Southern Australian Youth Arts Board and the Southern
Australian Film Corporation respectively, Dan and Emma attended IDFA
last November where 'A Shift in Perception' enjoyed its international.
The two recently completed a month long artists' residency at Squeaky
Wheel, Buffalo, New York in October, where they tinkered with
experimental image making, animation and VJing. After launching a new
body of work entitled 'Supermarket' with Dan Monceaux at the end of the
residency, the pair will be performing the audio-visual work at venues
across Canada and the USA until mid December. For more information about
the artists please visit: http://www.danimations.com.au.
12/1
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
NEGATIVLAND’S OUR FAVORITE THINGS +
Comes now the launch of Negativland's DVD/CD project, co-produced by
Other Cinema Digital and Seeland Records. The albums were created in
collaboration with 18 makers from all over the US (and one a cappella
group from Detroit). Famous mixes like Gimme the Mermaid, No Business,
Time Zones, Guns, Christianity Is Stupid, Drink It Up, Truth in
Advertising, and U2: I Still Haven't Found What I'm Looking For serve as
audio ground for new visual collages from the likes of Tim Maloney,
Harold Boihem, Mike Cousino, RRoom, and James Gladman. Some band members
will be in attendance for a short LIVE performance on "boopers," their
homemade feedback oscillators. PLUS the debut of Kembrew McLeod's
Freedom of Expression, a critical doc on intellectual property issues in
the contemporary corporate mediascape.*$7.
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SUNDAY, DECEMBER 2, 2007
------------------------
12/2
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00, Echo Park Film Center, 1200 Alvarado Street (at Sunset)
FILMFORUM PRESENTS FILMS BY ROBERT NELSON, PART 1
Filmforum presents Films by Robert Nelson, part 1. Robert Nelson, and
artist by background, turned to filmmaking in the 1960s, and his short
films, characterized by their free-spirited humor, unexpected twists,
and inspired setups, were among the most circulated of the American
underground. Tonight's films include Oh Dem Watermelons (1965), Plastic
Haircut (1963), Hot Leatherette (1967), Deep Westurn (1974), The Great
Blondino (1967). Newly restored prints courtesy of the Academy Film
Archives. NOTE CHANGE IN LOCATION! General admission $9,
students/seniors $6, free for Filmforum members, cash and check only
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.