From: Weekly Listing (email suppressed)
Date: Sat Mar 08 2008 - 08:32:53 PST
This week [March 8 - 16, 2008] in avant garde cinema
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28mm film
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JOB AVAILABLE:
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Binghamton University
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FUNDING:
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Museum of Contemporary Cinema Foundation (Deadline: May 15, 2008)
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NEW CALLS FOR ENTRIES:
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Liaison of Independent Filmmakers of Toronto (Toronto, Ontario, Canada; Deadline: April 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=858.ann
Transhift08 (Knoxville, Tennessee USA; Deadline: April 01, 2008)
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DEADLINES APPROACHING:
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film sharing Low & No Budget Videofilmfestival (Mainz, RLP, Germany; Deadline: April 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=824.ann
MFACM, City University of Hong Kong (Hong Kong; Deadline: March 31, 2008)
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MAMC, City University of Hong Kong (Hong Kong; Deadline: March 31, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=827.ann
Video Art Festival Miden (Kalamata, Greece; Deadline: March 31, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=833.ann
The 20th Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 11, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=836.ann
Portland Film + Video Artists Collective 007: Acts and Actions (Portland, Maine, USA; Deadline: March 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=849.ann
BROOKLYN INTERNATIONAL FILM FESTIVAL (Brooklyn, NY; Deadline: March 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=850.ann
FILMER LA MUSIQUE (Paris, France; Deadline: March 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=852.ann
Kino05 Screening (Ontario; Deadline: March 11, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=856.ann
European Sound Delta (Europe; Deadline: March 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=857.ann
Transhift08 (Knoxville, Tennessee USA; Deadline: April 01, 2008)
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Dyke Delicious Series 5: Kansas City Bomber [March 8, Chicago, Illinois]
* Tearoom [March 8, Columbus, Ohio]
* Gregory J. Markopoulos: the Illiac Passion [March 8, London, England]
* Santiago Alvarez + Travis Wilkerson [March 8, San Francisco, California]
* Gregg Araki, the Living End [March 10, Los Angeles, California]
* Lisa and the Devil [March 11, Reading, Pennsylvania]
* The Emotional Realism Show [March 12, Providence, RI]
* R. Bruce Elder's the Book of All the Dead: Part Three Continued At
Cinematheque Ontario [March 12, Toronto, Ontario, Canada]
* Films By Gordon Matta-Clark With Jane Crawford In Person! [March 13, Chicago, Illinois]
* The Invisible Forest [March 14, San Francisco, California]
* Art Docs Series: Instrument [March 15, Chicago, Illinois]
* Light Work, Program One: Jennifer Reeves' Live Cinema Works [March 15, San Francisco, California]
* Jennifer Reeves' Live Cinema Works + [March 15, San Francisco, California]
* Filmforum Presents Shoot Shoot Shoot: Works of the London Film-Makers’
Co-Operative, Part 2 [March 16, Los Angeles, California]
* Light Work, Program Two: Jennifer Reeves: Argument For the Immediate
Sensuous [March 16, San Francisco, California]
Events are sorted by CITY within each DATE.
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SATURDAY, MARCH 8, 2008
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3/8
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
7:00 pm Social Hour, 8:00 pm Screening, Chicago Filmmakers, 5243 N. Clark St.
DYKE DELICIOUS SERIES 5: KANSAS CITY BOMBER
Dyke Delicious: Kansas City Bomber Co-presented by Black Cat Productions
Admission: $10/$8 Reeling members (includes social hour and screening)
Renewed popular interest in roller derby lesbians has inspired us to
dust off that old Raquel Welch favorite Kansas City Bomber, directed by
Jerrold Freedman (USA, 1992, 99 minutes). Starring Welch, with Jodie
Foster as her young daughter, the film includes some exceptional skating
in bit parts by the pro skaters of that time. "Raquel Welch plays K.C.,
a basically nice girl, in the business less for blood than for money.
She has two problems: the blandishments of wily roller games promoter
Burt Henry and the resentment of aging roller games star Jackie
Burdette, whose fading light K.C. is expected to replace. There are
other problems as well, such as will K.C. ever be accepted as just part
of the team, the Portland (Ore.) Loggers, despite her unpopular eminence
and her superior décolletage. But the first two are the important ones,
and they suggest the quite stunning simpleness of what "Kansas City
Bomber" is all about.… the film's one incredible performance comes from
Helena Kailianiotes, as Jackie Burdette. Slouching sullenly in doorways,
staring moodily into space, cadging booze from a bottle hidden in a
skating boot..." (New York Times Review, Roger Greenspun, August 3,
1972). Also screening High Heels on Wheels (directed by Donna Cassyd,
2007, 15 min.). Come early for the social hour, when we will have a Best
Decorated Helmet Contest with Prizes!
3/8
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
10am-8pm, 1871 N. High St.
TEAROOM
William E. Jones in person for a 6pm booksigning. A highlight of the
current Whitney Biennial exhibition, Tearoom is a revelatory visual
document of pre-Stonewall gay images. Its footage was captured by a
police camera hidden in a public men's room in Mansfield, Ohio, in 1962,
an elaborate entrapment scheme devised to catch men of various races and
classes meeting to have sex with other men. Through extensive research,
filmmaker William E. Jones located the unedited original footage, which
he presents with virtually no intervention on his part—a radical example
of film presented "as found" for the purpose of circulating a kind of
imagery that has otherwise been suppressed. The Mansfield tearoom bust
was a considerable scandal in its day, with the lives of dozens of men
effectively ruined through the entrapment. Jones's replay, shown here
continously throughout the day in the Box, our video screening room, is
an act of notable restoration. (silent, 56 mins., video) A native of
Massillon, Ohio, and now living in Los Angeles, Jones received
post-production support for Tearoom from the Wexner Center's Art &
Technology residency program. His book-length background study to the
film is available in the Wexner Center Store and featured during the
signing.
3/8
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
7pm, Bankside, SE1 9TG
GREGORY J. MARKOPOULOS: THE ILLIAC PASSION
Throughout his life, Markopoulos remained closely connected to his
heritage and ultimately saw the Greek landscape as the ideal setting for
viewing his films. THE ILLIAC PASSION, one of his most highly acclaimed
films, is a visionary interpretation of 'Prometheus Bound' starring
mythical beings from the 1960s underground, including Andy Warhol (as
Poseidon), Jack Smith (as Orpheus) and Taylor Mead (as the Tree Sprite).
The soundtrack of this contemporary re-imagining of the classical realm
features a reading of Thoreau's translation of the Aeschylus text and
excerpts from Bartok. The preceding film, SORROWS, is a lyrical portrait
of the Swiss house built for Wagner by King Ludwig II. SORROWS (Gregory
J. Markopoulos, 1969, 6 min). THE ILLIAC PASSION (Gregory J.
Markopoulos, 1967, 92 min). This screening anticipates the outdoor
premieres of ENIAIOS III-IV in Greece, 27-29 June 2008. See
www.the-temenos.org for further information.
3/8
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia Street
SANTIAGO ALVAREZ + TRAVIS WILKERSON
We are honored to offer the collected works of Mr. Alvarez to the
world-a very rare opportunity owing to the damn Yankee blockade of the
Cuban social experiment. We have managed to obtain the very best-ever
transfers of his 16mm cine-poems, and so are using this occasion to
launch his portfolio on DVD! Boldly graphic, irresistibly rhythmic, and
ultimately soul-stirring, we're showing about half of the 8 titles in
the collection, including Now, Cerro Pelado, and 79 Springtimes of Ho
Chi Minh. Both this screening and the disc itself are complemented by
curator/artist Travis (An Injury to One) Wilkerson's Accelerated
Under-Development, a savvy appreciation of the master from the next
generation of political makers. Cuba Libres for a buck, OCD discs at a
discount.
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MONDAY, MARCH 10, 2008
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3/10
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd St
GREGG ARAKI, THE LIVING END
Los Angeles premiere 1992, remastered 2008, 85 min., HD A film landmark
of the 1990s becomes one of the cinematic highlights of 2008 with the
release of this gorgeously remastered version of The Living End. Shot
for a paltry $20,000, the racy, disturbing and unexpectedly romantic
tale of the serendipitous meeting between two HIV+ gay men significantly
changed the landscape of American independent cinema and put Gregg Araki
on the map as one of the most original directors of his generation. Sex
partners by chance, accomplices in crime by choice, Jon and Luke engage
in a desperate flight across the American wasteland in the quest of an
impossible amour fou—a journey strewn with a surrealist laundry list of
murder, boredom, casual sex, mini-marts, parking lots, sinister
freeways, post-punk apparel, garish colors, dark humor and freak
encounters… as death awaits on the horizon. In person: Gregg Araki
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TUESDAY, MARCH 11, 2008
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3/11
Reading, Pennsylvania: Berks Filmmakers.Inc
http://www.berksfilmmakers.org
7:30, Abright College
LISA AND THE DEVIL
Lisa and the Devil (1973, 116 min.) by MARIO BAVA. A horror film by
Italy's most brilliant practitioner of the genre (starring Telly
Savalas; Elke Sommer and Alida Valli): "…the heroine, a German tourist
in Toledo, Spain, momentarily strays from her tour group and – with the
simple act of turning a street corner – discovers another world, a
parallel world, in which she also seems to belong, to have always
already belonged…. Lisa and the Devil was Bava's most daring film, an
oneiric narrative with tender volleys of absurdist humor. As Lucas
writes, it is 'an extraordinary combination of horror film, art film and
personal testament. Based on Bava's memories of growing up among his
father's sculptures, dialogue borrowed from Dostoevski's I Diavoli, and
an unrealized project about real-life necrophile Viktor Ardisson, Lise e
il diavolo unfolds like a waking dream.'"- Sam Ishii-Gonzales
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WEDNESDAY, MARCH 12, 2008
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3/12
Providence, RI: Magic Lantern
http://magiclanterncinema.com/
9:30pm, 204 S. Main St
THE EMOTIONAL REALISM SHOW
Magic Lantern Cinema presents THE EMOTIONAL REALISM SHOW Wednesday,
March 12th at 9:30 pm Cable Car Cinema, 204 S. Main St. Providence, RI
$5 Guest curators Emily Vey Duke and Cooper Battersby in person! Our use
of realism (arguably, of the real in general) has undergone some pretty
major shifts over the course of the last 40-odd years. There's been an
explosion of documentation of the self dating back to the invention of
the snapshot and still climbing steadily through portapacks, hand-held
video cameras, camera phones, blogs, vlogs, you-tube and so forth. The
idea is that these media allow access to a relatively "true" or
"unmediated" self. This preoccupation with the real is evident in mass
media as well. Never have documentaries garnered so much attention and
never has what the British call "factual" programming (everything from
Anderson Cooper 360 to The Surreal Life) composed such a huge part of
what's on TV. Why have we become so fascinated with the real that we
have nearly abandoned the practice (if not the strategies and formulae)
of fiction? What does the real provide that the mimetic does not? With
Emotional Realism we propose that the truth claim made by works of this
nature allows the viewer to identify with the author/subjects more
profoundly, to engage with greater mercy. The second observation we've
made while compiling this program is that, while the truth claim is an
absolutely essential component in making the pieces work, it's equally
important that the works be self-consciously mediated. A truth-claim is
not the same as a claim of unadulterated truthfulness. In fact,
undisguised mediation adds another layer of sincerity (or realism) to
the works. By making no attempt to conceal their own artifice—by in fact
making that artifice explicit—the artists make works with a greater,
more tender authenticity. There's a principle from quantum physics (and
anthropology) that relates: when a process is observed, it changes. This
principle holds at the level of the photon as well as for human
behavior. The artists in Emotional Realism acknowledge this rather than
trying to conceal it, which allows the viewer to trust in the integrity
of the works. Take, by contrast, the multitude of "confessional" video
works generated by earnest young artists, in which the maker speaks
directly to the camera about her or his alienation, rage, despair, etc.
Somehow these works never succeed at eliciting the empathy the kid so
desperately desires. Instead, the viewer has a sense that the artist is
being not candid, disingenuous. Phony. Or take the example of
contemporary reality television, where the subjects work hard to
maintain the illusion that they are simply living their lives as they
normally would. Again, the overwhelming sense is that the participants
are not sincere, not open (no matter how much rank laundry they air);
that in fact they are a bunch of awful fakers. It's the strategies of
mediation that mark the works in Emotional Realism out as
exceptional--Miriam Backstrom's nearly sadistic coldness in Rebecca and
Kira Carpelan, two works about art, artifice and female power; De Cola
and Wandner's choice to strategically break the fourth wall in 5 More
Minutes, a piece about the sense of loss or lack that invariably attends
the mother/child relationship; Eija-Liisa Ahtila's use of professional
actors to reenact experiences of madness recounted to Ahtila by the
women who had lived them in her work Love is a Treasure; Amanda Baggs'
use of the MacIntosh computer voice Fred in her work In My Language, a
compelling description of her experience of autism; and LaToya Frazier's
carefully constructed narrative arc in her work A Mother to Hold. Far
from impeding identification with the subjects and makers of these
works, the strategies employed facilitate it, allowing the pieces to
function at the top of the range available to artists: the works
stimulate our ability to feel empathy. -Emily Vey Duke and Cooper
Battersby LIST OF WORKS: Miriam Backstrom: Rebecka (40 mins) LaToya Ruby
Frazier: A Mother to Hold: (22 mins) Dena DeCola and Karin Wandner: 5
More Minutes (17 mins) Amanda Baggs: In My Language (8:35) Magic Lantern
Cinema is graciously funded by RISCA and the Forbes Center for Modern
Culture and Media at Brown University www.magiclanterncinema.com
3/12
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:30 p.m., Art Gallery of Ontario’s Jackman Hall (317 Dundas Street West)
R. BRUCE ELDER'S THE BOOK OF ALL THE DEAD: PART THREE CONTINUED AT
CINEMATHEQUE ONTARIO
ET RESURRECTUS EST (1994, 135 minutes). The Eternal Feminine clashes
with TV's porn parodies of "the Love that moves the Sun and the other
stars" (Dante), putting on digital flesh as the cycle ends where it was
first conceived: in the City of Lights, amidst the wash of colours of
Monet's garden.
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THURSDAY, MARCH 13, 2008
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3/13
Chicago, Illinois: Conversations at the Edge
http://myspace.com/conversationsattheedge
8 pm, 164 N. State St.
FILMS BY GORDON MATTA-CLARK WITH JANE CRAWFORD IN PERSON!
Renowned "anarchitect" Gordon Matta-Clark (1943–1978) sliced through
abandoned buildings, staged socially engaged street performances, and
documented much of it in radical photographic collages, films, and
videos. Documentary filmmaker and Matta-Clark's widow Jane Crawford will
present a selection of the artist's films, including Clockshower (1973);
City Slivers (1976); and Office Baroque (1977). Presented in conjunction
with the Betty Rymer Gallery's series, "Meta Matta-Clark" and the Museum
of Contemporary Art's Exhibition, "Gordon Matta-Clark: You Are the
Measure" through May 4. (1973–77, Belgium/USA, 16mm, ca 90 min.)
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FRIDAY, MARCH 14, 2008
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3/14
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 valencia st
THE INVISIBLE FOREST
Friday, March 14, 2008. 8PM $6 THE INVISIBLE FOREST A film by Antero
Alli (in Person) A theatre troupe camps out in a forest to perform their
director's vision of Antonin Artaud's magic theatre of ghosts, gods and
spirits. During their forest experiment Alex, the director, is haunted
by disturbing dreams where Artaud appears and mocks his theatrical
ambitions. When these strange nightmares persist, Alex stops sleeping in
an attempt to regain control over his mind. Sleep-deprived and with his
sanity pushed to its limits, he seeks help from a Psychotherapist who
suggests hypnosis as a means to discover the source of his problems.
What follows is a hypnagogic journey through the internal landscape of
Alex's subconscious memories and dreams, a sojourn that leads us to a
place beyond belief, beyond words, and beyond the mind itself. (2008;
111 min. USA; Antero Alli . Super-8 film, HDV & mini-dv) trailer
http://www.fractalvideo.com/HTML/IFFV2.html filmography
http://www.verticalpool.com/filmography.html
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SATURDAY, MARCH 15, 2008
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3/15
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00 pm, Chicago Filmmakers, 5243 N. Clark St.
ART DOCS SERIES: INSTRUMENT
Art Docs Series: Instrument A collaboration between filmmaker Jem Cohen
and Washington DC band Fugazi, Instrument (USA, 1999, 115 min.) covers
the ten-year period following the band's inception in 1987. Far from a
traditional documentary, the project is a musical document: a portrait
of musicians at work. "With no desire on my part or the band's to create
a factual career survey or any kind of promotional vehicle, the project
presented an opportunity to cut things loose. Mixing sync-sound 16mm,
Super-8, video, and a wide range of archival formats, the piece includes
concert footage, studio sessions, practice, touring, interviews, and
portraits of audience members from around the country. Piecing it
together over the course of 5 years, I thought of bringing 'dub' to
documentary—of a project where unadultered real-time performances,
abstract, rough-hewn Super-8 collages and archival artifacts would
collide and conjoin in a way that honestly represented musical
experience. The project was edited with band members and extensively
uses soundtrack elements provided by Fugazi specifically for the film."
-- Jem Cohen
3/15
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
8:30 pm, 992 Valencia St/ATA
LIGHT WORK, PROGRAM ONE: JENNIFER REEVES' LIVE CINEMA WORKS
Immersive Cinema, Spring 2008. Presented in association with ATA's Other
Cinema. Jennifer Reeves In Person. Kicking off the Light Works
retrospective, Jennifer Reeves' tonight presents some of her most recent
projects—elaborate film experiences presented in richly colored and
extensively hand-manipulated 16mm celluloid. Even as filmmakers'
attentions turn towards the digital, the multi-screened and performative
works on tonight's program—Light Work Mood Disorder and He Walked
Away—eschew single strand/single screen presentation and expand on the
artists' already accomplished work with abstract visuals and direct-film
techniques, providing, in the words of Timothy Zwettler, "a big reminder
of the fragile, forgotten materiality of film for a new generation of
artists." Also screening: 1999's Darling International (co-directed by
M.M. Serra), excerpts from in-progress multi-screen works and other
surprises exclusive to the San Francisco engagement.
3/15
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia Street
JENNIFER REEVES' LIVE CINEMA WORKS +
In collaboration with SF Cinematheque, OC proudly hosts NYC-based
Jennifer Reeves, with a selection of her recent projects-elaborate film
experiences rendered on richly colored, hand-manipulated 16mm celluloid.
Even as filmmakers' attentions turn towards the digital, the
multi-screen and performative works on tonight's program-Light Work Mood
Disorder and He Walked Away-expand on Reeves' already accomplished work
with abstract visuals and direct-film techniques, providing "a big
reminder of the fragile, forgotten materiality of film for a new
generation of artists." ALSO screening: Darling International
(co-directed by M.M. Serra), excerpts from works-in-progress, and other
surprises.
----------------------
SUNDAY, MARCH 16, 2008
----------------------
3/16
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
FILMFORUM PRESENTS SHOOT SHOOT SHOOT: WORKS OF THE LONDON FILM-MAKERS’
CO-OPERATIVE, PART 2
Experimental film highlights from this artists'-led organization from
the 1960s and 70s. Tonight featuring Annabel Nicolson, Slides (1970);
Guy Sherwin, At the Academy (1974); Mike Leggett, Shepherd's Bush
(1971); David Crosswaite, Film No.1 (1971); Lis Rhodes, Dresden Dynamo
(1971); Chris Garratt, Versailles I & II (1976); Mike Dunford, Silver
Surfer (1972); Marilyn Halford, Footsteps (1974). General admission $9,
students/seniors $6, free for Filmforum members, cash and check only
3/16
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, 701 Mission St/YBCA
LIGHT WORK, PROGRAM TWO: JENNIFER REEVES: ARGUMENT FOR THE IMMEDIATE
SENSUOUS
Immersive Cinema, Spring 2008. Presented in association with the MadCat
Women's International Film Festival. Jennifer Reeves In Person. Light
Work's second installment features Jennifer Reeves presenting a diverse
selection of her short film and video works. We Are Going Home, shot and
hand-processed at Philip Hoffman's legendary Independent Imaging
Retreat, is equal parts northern landscape film and somnambulist
psychodrama. Light Work I, the hyper-focus clarity of hi-definition
video collides with the translucent viscosity of hand-painted emulsion.
Chronic tells the tale of a dysfunctional Ohio teenager headed for
disaster; as an exploration of sanity and survival, Chronic is precursor
of sorts to Reeves' later The Time We Killed. Finally, daring to face
down the anxiety of influence, this program will include Stan Brakhage's
Stately Mansions Did Decree back to back with Reeves' scrappy 2001
homage/rebuttal Fear of Blushing, a hand-painted film of irrepressible
colors and corroded emulsion and The Girl's Nervy. $10, general; $6,
members, students, disabled, seniors.
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker:
http://www.hi-beam.net
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.