From: Chris Lynn (email suppressed)
Date: Sat Oct 18 2008 - 16:21:41 PDT
Sorry guys that last email was not meant for the list.
Cheers, Chris
--- On Sat, 10/18/08, Weekly Listing <email suppressed> wrote:
> From: Weekly Listing <email suppressed>
> Subject: Part 2 of 2: This week [October 18 - 26, 2008] in avant garde cinema
> To: email suppressed
> Date: Saturday, October 18, 2008, 11:02 AM
> Part 2 of 2: This week [October 18 - 26, 2008] in avant
> garde cinema
>
> ------------------------
> FRIDAY, OCTOBER 24, 2008
> ------------------------
>
> 10/24
> Barcelona: Amalgama. Sesiones de Cine Experimental y
> Videoarte
> http://amalgamacine.blogspot.com/
> 21h, Plaça Rovira i Trias, 9
>
> RESONANCIAS, PRáCTICAS DE DESMONTAJE
> - El Año en el que el Futuro Acabó (Comenzó), de
> Marcelo Expósito
> (2007), 12 min. - Profanacions, de Oriol Sánchez (2008),
> 22 min. -
> Abismo Próximo, de Reivaj Yudato (2008), 16 min.
> "El año en que el
> futuro acabó (comenzó) (2007) responde a la
> conmemoración del
> trigésimonaniversario de la primeras elecciones
> generales democráticas
> después del franquismo, celebradas en junio de 1977. Lo
> hace mediante
> una interrogación acerca del relato instituido sobre el
> proceso de
> democratización de nuestro país que supuestamente
> culminaría en dichas
> elecciones, entendidas como momento ritual clave de la
> instauración de
> un sistema democrático cuya arquitectura se erige sobre
> el progresivo
> sofocamiento de la actividad democrática externa o
> crítica respecto a la
> centralidad absoluta y excluyente que el rito delegativo
> del voto y el
> imperativo del "consenso" detentan en nuestro
> régimen político".
> http://www.hamacaonline.net/obra.php?id=592
> "Profanaciones parece partir
> de la sospecha de que se puede oír lo que se ve: un
> piano, un follaje
> movido por el viento, el golpear de una puerta, pero que,
> al mismo
> tiempo, no se puede ver lo que se oye, de que la mirada
> puede escuchar,
> pero el oído no puede ver, algo que expresa directamente
> en el
> subtítulo, Las orejas no tienen párpados. Es decir,
> parte del
> presupuesto de que "entre la vista y el oído no hay
> reciprocidad". De
> ahí que, generalmente, haya mucha más música que se
> crea alrededor del
> cine o de la imagen que su contrario, cine que se
> engendre a partir de
> la música. En un primer momento esto parece
> contradictorio pues el vídeo
> de Oriol Sánchez es un trabajo que surge en secuencia de
> la pieza
> electroacústica Campanes de llum de Juan Riera Robusté,
> como una especie
> de banda de imagen creada a partir de esta
> composición."
> http://www.blogsandocs.com/?p=276 "Hablaremos del
> titulo: Abismo, como
> precipicio, despeñadero, sima, profundidad, hundo, fosa
> o vacío y
> Próximo como cercano, inmediato, adyacente, rayano, en
> los limites,
> parecido, afín, similar, adjunto o pegado. De alguna
> forma, el titulo
> nos permite hablar del proceso de montaje, de la
> articulación de esos
> abismos, diferentes secuencias, trabajadas entre
> imágenes, para hacerlas
> próximas. Esto ocurre en cualquier montaje, pero aquí
> es algo muy
> significativo. Se trata de adjuntar secuencias de
> imágenes de
> telediarios, con representaciones cristianas,
> intervenciones
> quirúrgicas, partidos de fútbol o fragmentos de filmes
> en su semejanza.
> De tal forma que, aunque sean imágenes totalmente
> distantes y que entre
> ellas haya un abismo, aquí se trabajan en sus límites y
> se intenta
> establecer entre ellas analogías y relaciones
> afines". Celeste Araújo
>
> 10/24
> New York, New York: Anthology Film Archives
> http://www.anthologyfilmarchives.org/
> 7:00 PM and 9:00 PM , 32 Second Avenue
>
> ZIDANE, A 21ST CENTURY PORTRAIT
> by Douglas Gordon & Philippe Parreno 2006, 90
> minutes, 35mm. With
> Zinédine Zidane. Music by Mogwai. Special thanks to
> Douglas Gordon, Gary
> Rough, Mar-tina Aschbacher, Victorien Vaney and Anna
> Aquistapace (Anna
> Lena Films). ?Exclusive engagement at Anthology and BAM
> Cinematek only!
> Presenting a radically new approach to the sports film,
> artists Gordon
> and Parreno have created a real-time portrait focusing on
> one of the
> greatest soccer players of the century, Zinédine Zidane.
> Their
> remarkable film – shot before the World Cup head-butt
> heard around the
> world – places viewers right in the action, as no less
> than 17 cameras
> (both 35mm Scope and High Definition video, all
> supervised by
> cinematographer Darius Khondji) track Zidane's every
> move and glance one
> day in April 2005, when Zidane's Real Madrid club
> battled Spanish La
> Liga opponent Villareal. Comprising something in between
> an art
> installation and a sports documentary, Gordon and Parreno
> thrust the
> viewer into all facets of the experience, the psychology,
> and the body
> of an athlete in action – an incomparable and
> breathtaking experience.
>
> 10/24
> San Francisco, California: Artists Television Access
> http://www.atasite.org/
> 8 pm, 992 Valencia Street
>
> POLITICAL ADVERTISEMENT VII (1952-2008)
> Political Advertisement VII (1952-2008) / By Antoni
> Muntadas and
> Marshall Reese / 2008 / 70 min. / Revised and updated
> prior to each US
> presidential election since 1984, the pioneering
> Political Advertisement
> traces the evolution of the campaign TV spot for both
> primary and
> general elections. Starting with the first
> "Eisenhower Answers America,"
> this fascinating compilation of campaign ads draws
> attention to
> political marketing strategies. Compared to other
> television
> appearances, the spot encapsulate how the image of each
> candidate is
> crafted, controlled, and ultimately sold like commercial
> products. Video
> artists Muntadas and Reese have edited these ads
> back-to-back without
> commentary, offering a direct look at the stylistic
> techniques and
> recurrent messages of hope and fear. The current campaign
> ad war has
> been unprecedented in terms of quantity, cost, and
> rapid-response; with
> the advent of viral videos, the game keeps on changing.
> Introduction by
> Tanya Zimbardo.
>
> --------------------------
> SATURDAY, OCTOBER 25, 2008
> --------------------------
>
> 10/25
> Chicago, Illinois: Chicago Filmmakers
> http://www.chicagofilmmakers.org/
> 8:00pm, Chicago Filmmakers (5243 N. Clark St.)
>
> WHO BY WATER, WHO BY FIRE: NEW EXPERIMENTAL CINEMA
> Curated and Introduced by Patrick Friel. Light and water
> have long been
> two favorite subjects of experimental filmmakers.
> Tonight's program
> features an outstanding international selection of new
> work riffing
> directly and indirectly on these themes. Bill Morrison
> (Decasia)
> continues his investigations of early archival footage in
> Who by Water
> (2007, 18 min., USA), here exploring the faces of ship
> passengers; In
> Studies in Transfalumination (2008, 5 min., US) Peter
> Rose uses
> "modified flashlights and stripped down video
> projectors to explore the
> visual complexities of the ordinary world." (PR);
> Christian Lebrat's V1
> (Vortex) (2007, 11 min., France) moves the tradition of
> filming light
> reflections on water into the digital age; this is not an
> anchor, this
> boat is not an anchor (2007, 11 mins, Canada), by
> Marianna Milhorat, "is
> the internal journey through a magical and mysterious
> landscape, where
> romanticism is continually disrupted" (MM); Takashi
> Ishida's Film of the
> Sea (2007, 12 min., Japan) playfully moves the sea into
> the gallery
> space; In Kerry Laitala's Orbit (2006, 9 min., 16mm,
> USA) carnival
> lights swirl and merge into a colorful illuminated dance;
> Sanctuary
> (2008, 8 mins., 16mm, USA) by Vanessa O'Neill:
> "Breath in response to
> the colors of air, an emergence to the moving light
> within" (VO). Total
> running time: 73 mins. All video except where noted.
>
> 10/25
> Greenbelt Maryland: Utopia film festival
> http://www.utopiafilmfestival.org/
> 12 noon, Greenbelt Community Center room 114 (near the
> Greenbelt Library across the parking lot from Greenbelt’s
> Roosevelt Center); 15 Crescent Road
>
> URBAN/RURAL LANDSCAPES (EXPERIMENTAL)
> August-Vanessa O'Neill-(4min 30)-Impressions and
> presences evocated
> through a hand-working of glimpses, of lighted moments.
> Polar-Scott
> Nyerges-(1min 35)Apocalyptic inner visions of the polar
> ice caps plight.
> All that Remains-Ryan Marino(8:25)A study in Light,
> textures and ghosts
> that make up the abandoned. Nanjing Sunday-Chris
> Lynn(5:00min)-Nanjing,
> China is explored through fragments of sound and light.
> Glimpses of the
> everyday are revealed Tower-Roger Beebe-(5min)A world of
> wonders lies
> just a glance away from the famous tower. Bus Stop-Chen
> Sheinberg-(2.5min)-A fascinating bus ride through Tel
> Aviv edited in the
> camera while shooting. Deconstruction Sight-Dominic
> Angerame-(14min)Angerame begins an investigation into the
> excavations
> that are supposed to help the city into the twenty-first
> century. The
> 'time lapse' images radiate a pre-cinematographic
> purity that sharply
> contrasts with the industrial hell evoked by the
> excavators. Ghosts and
> Gravel Roads-Mike Rollo-15.45-An inventory of lost
> memories and places,
> the sun bleached landscape of Saskatchewan serves as a
> metaphor for
> displacement, a framing of emptiness and absence.
>
> 10/25
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> STUDIO: PNEUMA MONOXYD
> PNEUMA MONOXYD (Thomas Köner, Germany-Serbia, 2007, 10m)
> Merging
> surveillance images of a German shopping street and a
> Balkan
> marketplace, Köner's darkly abstract work, with its
> spatially evocative
> soundtrack, generates a muted sense of spectral dystopia.
> Continuous
> Projection. Free Admission.
>
> 10/25
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 2pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> A SENSE OF PLACE
> FOUR TORONTO FILMS (Nicky Hamlyn, UK, 2007, 18m) During a
> residency in
> the Canadian city, Hamlyn made this suite of films that
> explore a direct
> relationship between subject matter and camera apparatus.
> Three
> scrutinise aspects of the urban locale, the other an
> accelerated view of
> Koshlong Lake. 21 ALLEYS (Robert Todd, USA, 2007, 9min) A
> residential
> street, seen through the passageways that separate its
> dwellings, is the
> focus of this understated study of gentrification in a
> Boston
> neighbourhood. LAST DAYS IN A LONELY PLACE (Phil Solomon,
> USA, 2007,
> 22m) Solomon has created a sombre elegy for a departed
> friend from
> fragments of movie soundtracks and anomalous images
> liberated from Grand
> Theft Auto. A soul drifts through unpopulated (virtual)
> spaces and we
> see absence. LOSSLESS #2 (Rebecca Baron, Douglas Goodwin,
> USA, 2008, 3m)
> Witness the dematerialization of an avant-garde standard
> as incomplete
> digital files, downloaded from file sharing networks,
> induce trouble in
> the image. TRILOGY: KETTLE'S YARD (Jayne Parker, UK,
> 2008, 25m) Linear
> Construction, Woman with Arms Crossed and Arc refer back
> to a quartet of
> films made with musician Anton Lukoszevieze almost a
> decade ago. This
> new anthology for solo cello was shot at Kettles Yard and
> incorporates
> items from the museum's collection which open up
> metaphorical space and
> meaning. THE MIRACLE OF DON CRISTOBAL (Lawrence Jordan,
> USA, 2008, 12m)
> An alchemical melodrama composed of engravings from 19th
> century
> adventure stories. The illustrations are conjured into
> motion as
> improbable sounds collide with a Puccini aria.
>
> 10/25
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 4pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> GUY DEBORD
> 'The cinema, too, has to be destroyed.' (Guy
> Debord) An extremely rare
> opportunity to see new 35mm prints of films by French
> writer and
> theorist Guy Debord, best known for The Society of the
> Spectacle. Debord
> was a central figure of the Situationist International
> (SI), a
> nihilistic band of agitators whose harsh critiques of
> capitalist
> society, inspired by Marxism and Dada, were conveyed
> through
> publications, visual art and collective actions.
> Articulated primarily
> in the French language, Situationism was relatively
> ineffective in
> Britain and America in its time, and though numerous
> translations are
> now available, Debord's radical films remain unseen.
> Far ahead of its
> time, his technique of 'détournement'
> assimilates still and moving
> image-scraps from features, newsreels, printed matter,
> advertisements
> and other detritus to satisfy the viewer's
> 'pathetic need' for cinematic
> illusion. Propelled by a spoken, monotonous discourse,
> the images do not
> so much illustrate the text as underpin it, often
> maintaining a
> metaphorical relationship that may not at first be
> apparent. The two
> films showing here effectively bookend Debord's
> involvement with the
> Situationists, whose politically subversive practice
> aspired to provoke
> a revolution of everyday life. SUR LE PASSAGE DE QUELQUES
> PERSONNES À
> TRAVERS UNE ASSEZ COURTE UNITÉ DE TEMPS (Guy Debord,
> France, 1959, 18m)
> In the dingy bars of St-Germain-des-Prés, Debord and his
> associates
> formed a bohemian underground for whom 'oblivion was
> their ruling
> passion.' This anti-documentary captures the SI close
> to its moment of
> inception, following their separation from the Lettristes
> two years
> prior. IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI (Guy
> Debord, France, 1978,
> 105m) 'I will make no concessions to the public in
> this film. I believe
> there are several good reasons for this decision, and I
> am going to
> state them.' And state them he does. Debord's
> final film is a
> denunciation of cinema and society at large, an
> unremitting diatribe
> against consumption. The SI is equated to a military
> operation (charge
> of the light brigade, no less) as its members are
> presented alongside
> images of the D-Day landings, Andreas Baader, Zorro, a
> comic strip
> Prince Valliant and quotes from Shakespeare, Ecclesiastes
> and Omar
> Khayyám. Debord takes no prisoners in this testament to
> his anarchistic
> vision.
>
> 10/25
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> ALINA RUDNITSKAYA
> Alina Rudnitskaya's humanistic approach to
> documentary filmmaking often
> brings out the humour in her chosen subjects. As an
> introduction to her
> work, this programme depicts three diverse groups of
> contemporary
> Russian women. AMAZONS (Alina Rudnitskaya, Russia 2003,
> 20m) A sensitive
> portrait of an unusual urban phenomenon: a troupe of
> independent and
> strong-minded girls who keep horses in the heart of St
> Petersburg.
> Amazons follows a new volunteer as she tries to find her
> place within
> the group dynamic. BESAME MUCHO (Alina Rudnitskaya,
> Russia 2006, 27m)
> With music providing an escape from their duties as
> veterinarians,
> nurses and cleaners, the amateur chorus of a provincial
> town rehearse
> songs from Verdi's 'Aida'. Close bonds are
> formed, but in true diva
> style, relationships within the choir are frequently
> inharmonious. BITCH
> ACADEMY (Alina Rudnitskaya, Russia, 2008, 29m) An
> improbable symbol of
> modern Russia is displayed in this tragicomic verité on
> the aspirations
> of young women. In a progressive twist on assertiveness
> training, a
> middle-aged, paunchy Casanova (who surely loves his job)
> gives classes
> on how to seduce the male using role play, styling
> critiques and sexy
> dancing. The ultimate goal is to hitch a millionaire, and
> though there's
> much humour in the situation, occasional tears and
> telling looks remind
> us that the insecurities of real lives are being laid
> bare.
>
> 10/25
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 9pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> WHEN LATITUDES BECOME FORM
> IN THE KINGDOM OF SHADOWS (Francisca Duran, Canada, 2006,
> 6m) Set in
> metal type, a passage from Maxim Gorky's review of
> the Lumières melts
> into a pool of molten lead. HOW TO CONDUCT A LOVE AFFAIR
> (David Gatten,
> USA, 2007, 8min) 'An unexpected letter leads to an
> unanticipated
> encounter and an extravagant gift. Some windows open
> easily; other
> shadows remain locked rooms.'(DG) THE PARABLE OF THE
> TULIP PAINTER AND
> THE FLY (Charlotte Pryce, USA, 2008, 4min) A saturated
> cine-miniature
> inspired by Dutch 17th Century painting. DEEP SIX (Sami
> van Ingen,
> Finland, 2007, 7m) The film image of a loaded truck,
> careening free of
> its position in the frame, speeds along a mountain road
> towards an
> inevitable fate. DE TIJD (Bart Vegter, Netherlands, 2008,
> 9m) Computer
> animated abstraction in three dimensions. Slowly evolving
> geometric
> forms suggest sculptural figures and waning shadows.
> HORIZONTAL
> BOUNDARIES (Pat O'Neill, USA, 2008, 23m)
> O'Neill's dizzying deployment
> of the 35mm frame-line is intensified by Carl Stone's
> electronic score.
> A hard and rhythmic work, thick with superimposition,
> contrary motion
> and volatile contrasts, reminiscent of his pioneering
> abstract work of
> prior decades. EASTER MORNING (Bruce Conner, USA, 2008,
> 10m) Conner's
> freewheeling camera chases morning light in a hypnotic
> blur of colour
> and multiple exposures. This final work by the artist and
> filmmaker
> rejuvinates his rarely seen 8mm film Easter Morning Raga
> (1966). With
> music by Terry Riley.
>
> 10/25
> Los Angeles, California: Echo Park Film Center
> http://www.echoparkfilmcenter.org/
> 7 PM, 1200 N. Alvarado Street (@ Sunset Blvd)
>
> MARK STREET & LYNNE SACHS AT THE 8TH ANNUAL HUMAN
> RIGHTS FILM FESTIVAL
> Investigation of a Flame: a documentary portrait of the
> Catonsville 9 by
> Lynne Sachs 7:00 - 8:00 PM On May 17, 1968, three
> Catholic priests, a
> nurse, an artist and four others walked into a
> Catonsville, Maryland
> draft board office, grabbed hundreds of selective service
> records and
> burned them with homemade napalm. Their poetic act of
> civil disobedience
> helped galvanize an increasingly disillusioned American
> public against
> the Vietnam War. Investigation of a Flame is an intimate
> look at this
> Sixties protest within our current times, when foes of
> Middle East
> peace, abortion, and technology resort to violence to
> access the public
> imagination. Filmmaker Lynne Sachs combines volatile,
> long-unseen,
> archival footage with interviews with Daniel and Philip
> Berrigan and
> other members of the Catonsville Nine, encouraging
> viewers to ponder the
> relevance of civil disobedience and the implications of
> personal
> sacrifice today. HIDDEN IN PLAIN SIGHT by Mark Street -
> 8:30 - 10 PM In
> Hidden In Plain Sight, Mark Street and his camera travel
> to five major
> cities in different nations-- the United States (New York
> City), Vietnam
> (Hanoi), France (Marseilles), Senegal (Dakar) and Chile
> (Santiago). At
> each stop, Street observes the people, the traffic
> patterns and the
> scenery while looking for evidence of revolutionary
> political thought as
> the principles of Ho Chi Minh and Salvador Allende pop up
> in unexpected
> places. Featuring a score by noted cellist Jane
> Scarpantoni, Hidden In
> Plain Sight was an official selection at the 2008 Tribeca
> Film Festival,
> was it was screened as part of the "Progressive
> Landscapes" series. ~
> Mark Deming, All Movie Guide FREE! FILMMAKERS IN
> ATTENDANCE!
>
> 10/25
> San Francisco, California: Other Cinema
> http://www.othercinema.com/
> 8:30pm, 992 Valencia Street
>
> SCHNEIDER'S 1, 2, 3 WHITEOUT + ARCHIMEDIA +
> Longtime OC ally James June Schneider has managed a
> prolific rate of
> output even after moving to Paris for an advanced degree.
> He's bringing
> back a 16mm print of his exquisitely stylized sci-fi
> feature 1, 2, 3,
> Whiteout, an allegorical, speculative, late New Wave take
> on human
> trajectories through the City of Light. Extrapolating on
> the
> architectural, David Cox and Molly Hankwitz of Archimedia
> present Guy
> Debord's Paris -obsessed short On the Passage of a
> Few Persons Through a
> Rather Brief Period of Time, towards an understanding of
> both the
> Situationists and the Schneider. ALSO: Caspar
> Stracke's Rong Xiang, on
> the (de)construction of the Chinese copy of Le
> Corbusier's iconic Notre
> Dame du Haut.
>
> ------------------------
> SUNDAY, OCTOBER 26, 2008
> ------------------------
>
> 10/26
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> STUDIO: KEMPINSKI
> Continuous Projection. Free Admission. KEMPINSKI (Neil
> Beloufa,
> Mali-France, 2007, 14m) Whilst challenging our
> stereotypical view of
> Africa, Kempinksi also blurs the lines between
> documentary, ethnography
> and science fiction. Asked to imagine the future but to
> speak in the
> present tense, the protagonists describe extraordinary
> and unexpected
> visions.
>
> 10/26
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 2pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> NATHANIEL DORSKY IN PERSON
> In his search for a 'polyvalent' mode of
> filmmaking, Nathaniel Dorsky
> has developed a filmic language which is intrinsic and
> unique to the
> medium, and expressive of human emotion. Seeking wonder
> not only in
> nature but in the everyday interaction between people in
> the
> metropolitan environment, Dorsky observes the world
> around him. Free of
> narrative or theme, his films transcend daily reality and
> open a space
> for introspective thought. 'Delicately shifting the
> weight and solidity
> of the images', a deeper sense of being is manifest
> in the interplay
> between film grain and natural light. Dorsky returns to
> London to
> introduce two brand new films and Triste, the work that
> first intimated
> his sublime and distinctive 'devotional cinema'.
> These lyric films are
> humble offerings which unassumingly blossom on the
> screen, illuminating
> a path for vision. WINTER (Nathaniel Dorsky, USA, 2007,
> 19m) 'San
> Francisco's winter is a season unto itself. Fleeting,
> rain-soaked,
> verdant, a brief period of shadows and renewal.'(ND)
> SARABANDE
> (Nathaniel Dorsky, USA, 2008, 15m) 'Dark and stately
> is the warm,
> graceful tenderness of the sarabande.'(ND) TRISTE
> (Nathaniel Dorsky, USA
> 1978-96, 19m) 'The sadness referred to in the title
> is more the struggle
> of the film itself to become a film as such, rather than
> some pervasive
> mood.'(ND)
>
> 10/26
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 3:45pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> THE FEATURE
> THE FEATURE (Michel Auder, Andrew Neel, USA, 2008, 177m)
> In Michel
> Auder's case, the truth is certainly stranger than
> fiction. One of the
> first to compulsively exploit the diaristic potential of
> the Sony
> Portapak, he was right there at the heart of the Warhol
> Factory and the
> Soho art explosion. This fictionalised biography draws on
> his vast
> archive of videotapes, connecting them by means of a
> distanced narration
> and new footage, shot by co-director Andrew Neel, in
> which Auder
> portrays his doppelganger, an arrogantly successful
> artist who may or
> may not have a life-threatening condition. Resisting
> nostalgia through
> wilful ambiguity, The Feature remains raw and brutally
> honest as Auder
> displays the best and worst of himself. Taking in his
> marriages to both
> Viva and Cindy Sherman, and affiliations with Larry
> Rivers, the Zanzibar
> group and the downtown art scene, this is necessarily a
> tale of epic
> proportions, chronicling an amazing journey through art
> and life whilst
> providing access to a wealth of fascinating personal
> footage.
>
> 10/26
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 7pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> THE WORD FOR WORLD IS FOREST
> SMALL MIRACLES (Julia Hechtman, USA, 2006, 5m) Sci-fi
> hallucinations
> seem commonplace as Hechtman invokes mysterious natural
> phenomena: an
> extreme case of mind over matter. KEMPINSKI (Neil
> Beloufa, Mali-France,
> 2007, 14m) Speaking in the present tense, interviewees
> describe their
> idiosyncratic notions of the future. To the western
> viewer, the unlikely
> subjects, stylized settings and atmospheric lighting
> impart a strange
> disconnect between science fiction and anthropology.
> TJÚBA TÉN (THE WET
> SEASON) (Brigid McCaffrey, Ben Russell, USA-Suriname,
> 2008, 47m) 'An
> experimental ethnography composed of community-generated
> performances,
> re-enactments and extemporaneous recordings, this film
> functions doubly
> as an examination of a rapidly changing material culture
> in the present
> and as a historical document for the future. Whether the
> record is
> directed towards its subjects, its temporary residents
> (filmmakers), or
> its Western viewers is a question proposed via the
> combination of long
> takes, materialist approaches, selective subtitling, and
> a focus on
> various forms of cultural labour.'(BR) REMOTE
> INTIMACY (Sylvia
> Schedelbauer, Germany, 2008, 15m) Cast adrift in the
> collective
> unconscious, Remote Imtimacy constructs an allegorical
> collage from
> found footage and biographical fragments, exploring
> cultural dislocation
> using the rhetoric of dreams.
>
> 10/26
> London, England: BFI London Film Festival
> http://www.bfi.org.uk/lff
> 9pm, BFI Southbank, Belvedere Road, South Bank, SE1
>
> BEN RIVERS AT THE EDGE OF THE WORLD
> An intrepid explorer, Ben Rivers toys with ethnographic
> tropes whilst
> roaming free from documentary truth. Encountering those
> who choose to
> live apart from society, his nonjudgmental approach
> presents 'real life,
> or something close to it.' The Edge of the World
> features several recent
> works with other films of his choice. AH LIBERTY! (Ben
> Rivers, UK, 2008,
> 19m) In the wilderness of a highland farm, a bunch of
> tearaways joyride,
> smash up, tinker and terrorize the way that only children
> can.
> Assimilating landscape and livestock, this poetic study
> contrasts the
> languid setting with the youngster's restless energy.
> RECORDANDO EL AYER
> (Alexandra Cuesta, USA, 2007, 9m) In the shadow of an
> elevated subway
> line in Queens, New York, the residents, streets and
> stores of a Latino
> community evoke a sense of transience and displacement.
> ASTIKA (Ben
> Rivers, UK-Denmark, 2007, 8m) Danish recluse Astika has
> allowed nature
> to run wild, overgrowing his own habitat to the point
> that he has no
> option but to move away. The film is a hazy arrangement
> in green and
> gold, all rich textures and lush foliage. SINGING
> BISCUITS (Luther
> Price, USA, 2007, 4m) A gospel cry rings out across the
> decades,
> disrupted in space and time, fading but resilient. NEW
> SURPRISE FILM
> (Ben Rivers, UK, 2008, c.7m) A little anticipation never
> did anyone any
> harm; you'll have to be there to find out what it is.
> ORIGIN OF THE
> SPECIES (Ben Rivers, UK, 2008, 17) 'A 70-year old man
> living in a remote
> part of Scotland has been obsessed with 'trying to
> really understand'
> Darwin's book for many years. Alongside this passion,
> he's been
> constantly working on small inventions for making his
> life easier. The
> film investigates someone profoundly interested in human
> beings, but who
> has decided to live separately from the majority of
> them.'(BR)
>
> 10/26
> Los Angeles, California: Film Forum
> http://www.filmforum.com/
> 7:00 PM, The Egyptian Theatre, 6712 Hollywood Blvd
>
> LYNNE SACHS AND MARK STREET PRESENT "XY CHROMOSOME
> PROJECT #3"
> Garden of Verses: An Evening of Cinematic Seeds and
> Mordant Vines From
> archival snips of an educational film on the weather to
> cine poems in
> full blossom, New York film "avant-gardeners"
> Mark Street and Lynne
> Sachs create their 3rd XY CHROMOSOME PROJECT. This
> program of 10 short
> films on both single and double screen gleans
> audio-visual crops from
> the dust of the filmmakers' fertile and fallow
> imaginations. In this
> avalanche of visual ruminations on nature's
> topsy-turvy shakeup of our
> lives, Street and Sachs ponder a city child's
> tentative excavation of
> the urban forest, winter wheat, and the great American
> deluge of the
> 21st Century (so far).
>
> 10/26
> San Francisco, California: San Francisco Cinematheque
> http://www.sfcinematheque.org
> 7:30 pm, Yerba Buena Center for the Arts
>
> LESLIE THORNTON: TUNED ALWAYS TO A SHIFTING GROUND
> Program Three: Peggy and Fred in Hell: The Expiration
> Peggy and Fred in
> Hell (1984–2008), Leslie Thornton's major work, is
> a serial epic akin to
> the works of Craig Baldwin and Alan Curtis in its
> ravenous appropriation
> of disparate archival footage, radical use of diverse
> genre forms and
> embodiment of media history. Variously documenting and
> dramatizing the
> lives of two children adrift in a post-apocalyptic, yet
> media saturated,
> wasteland, Peggy and Fred… is equal parts ethnography,
> science fiction
> and horror film. Issued episodically and long considered
> to be
> perpetually "incomplete," The Expiration marks
> the approach of its
> unexpected conclusion: "I would say it has been a
> quest which began to
> close down after 9/11, when the pretense of the
> work's 'future tense'
> (its undefined apocalypse) dissolved into a more
> disturbing present and
> then even a past. Peggy and Fred… was set in the
> detritus of the Cold
> War. In the last few episodes, the serial project finds
> its narrative
> arc, ending on a note strangely optimistic, though
> post-human." Thornton
> will end the event with a reading of text from The
> Eradication, the
> final episode in progress of Peggy and Fred in Hell.
>
>
> 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>.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.