This week [January 24 - February 1, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Jan 24 2009 - 14:24:20 PST

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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Speechless" by Scott Stark
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=368.ann
"Right" by Scott Stark
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=369.ann

FUNDING:
========
Experimental Television Center (Deadline: March 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=19.ann

NEW CALLS FOR ENTRIES:
=====================
film sharing Low & No Budget VideoFilmfestival Tour 2009 (Mainz, Germany, Europe; Deadline: April 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=980.ann
abstracta (roma; Deadline: June 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=981.ann
Soft Science: The Human Animal (Los Angeles, CA, USA; Deadline: February 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=982.ann
FINAL SUBMISSION DEADLINE FOR NBFF- JAN 30 (newport beach, ca, USA; Deadline: January 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=983.ann
2009 NEWPORT BEACH FILM FESTIVAL (Newport Beach, CA, USA; Deadline: February 02, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=984.ann
Ventura Film Festival (Ventura, CA. USA; Deadline: February 16, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=985.ann
The Onion City Experimental Film and Video Festival (Chicago, IL, US; Deadline: April 10, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=986.ann
60 x 60 WHAT IF? (new england, usa; Deadline: February 16, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=987.ann

DEADLINES APPROACHING:
======================
Renderyard International Film Festival (London; Deadline: February 13, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=941.ann
MEDIA CITY (Windsor, Ontario, Canada; Deadline: February 20, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=959.ann
Main Line Film Festival (Wayne, PA, USA; Deadline: January 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=960.ann
4th Annual Short Shorts Film Festival (Duluth, MN, USA; Deadline: February 13, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=964.ann
Hinterland Film Festival (Montague, MA; Deadline: January 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=966.ann
The Delta International Film and Video Festival (Cleveland, MS USA; Deadline: February 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=969.ann
West Chester Film Festival (West Chester, PA, USA; Deadline: January 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=977.ann
Soft Science: The Human Animal (Los Angeles, CA, USA; Deadline: February 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=982.ann
FINAL SUBMISSION DEADLINE FOR NBFF- JAN 30 (newport beach, ca, USA; Deadline: January 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=983.ann
2009 NEWPORT BEACH FILM FESTIVAL (Newport Beach, CA, USA; Deadline: February 02, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=984.ann
Ventura Film Festival (Ventura, CA. USA; Deadline: February 16, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=985.ann
60 x 60 WHAT IF? (new england, usa; Deadline: February 16, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=987.ann

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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Videolab Lagos iii [January 24, Lagos, Algarve, Portugal]
* The Artist and the Archives - Short Films By Bill Morrison [January 24, Los Angeles, California]
* The Free Screen - Palace of Pleasure & Exploding Plastic Inevitable [January 24, Toronto, Ontario, Canada]
* Techniques For Interactive Cinema [January 24, Vancouver, British Columbia]
* T , O , U , C , H , I , N , G: the Architectures of Perception [January 25, Dublin, Ireland]
* Channeling: An Invocation of Spectral Bodies and Queer Spirits [January 25, Houston, Texas]
* Essential Cinema Maya Deren [January 25, New York, New York]
* Willard Maas, Program 1 [January 25, New York, New York]
* Willard Maas, Program 2 [January 25, New York, New York]
* I Wanted Every Day To Last Forever [January 25, San Francisco, California]
* 23rd Palm Branch (1966-1967, Stan Brakhage) With An Introduction By Fred
Camper [January 26, Chicago, Illinois]
* Channeling: An Invocation of Spectral Bodies and Queer Spirits [January 26, Shreveport, Louisiana]
* The Roh and the Cooked: Structural Film, Actionism, Paracinema [January 27, Brooklyn, New York]
* Channeling: An Invocation of Spectral Bodies and Queer Spirits [January 27, New Orleans, LA]
* Avant-Garde Silent Films - "A Page of Madness" [January 28, Los Angeles, California]
* Channeling: An Invocation of Spectral Bodies and Queer Spirits [January 28, New Orleans, LA]
* Without A Trace. Erasing Inscription, Inscripting Erasure [January 29, Gent, Belgium]
* Soccer As Never Before / Fussball Wie Noch Nie [January 29, New York, New York]
* Interdisciplinary Artists In the Cinematic Continuum [January 29, Vancouver, British Columbia]
* Minutes To Go: William Burroughs and Brion Gysin In the Beat Hotel [January 30, Atlanta, Georgia]
* Hooded and Headless: An Erratic Survey of Anonymity In Recent video and
Life [January 30, Brooklyn, New York]
* Three videos By Takahiko iimura [January 30, New York, New York]
* The West Coast Invades the East [January 30, Toronto, Ontario, Canada]
* Red Shift [January 30, Toronto, Ontario, Canada]
* An Evening With Rick Prelinger and the Prelinger Archives [January 31, Los Angeles, California]
* Essential Cinema Strike / Stachka [January 31, New York, New York]
* Essential Cinema Battleship Potemkin / Bronenosets Potemkin [January 31, New York, New York]
* Essential Cinema Battleship Potemkin / Bronenosets Potemkin [January 31, New York, New York]
* Artist Talk + White Calligraphy Performance By Takahiko iimura [January 31, Toronto, Ontario, Canada]
* My Year In Malaya [January 31, Toronto, Ontario, Canada]
* Bageroo, Too! [January 31, Toronto, Ontario, Canada]
* Essential Cinema Old and New [February 1, New York, New York]
* Essential Cinema October / Oktyabr [February 1, New York, New York]

Events are sorted by CITY within each DATE.

--------------------------
SATURDAY, JANUARY 24, 2009
--------------------------

1/24
Lagos, Algarve, Portugal: VIdeolab Project
http://www.projectovideolab.com
6.pm-12pm, LAC, Lagos

VIDEOLAB LAGOS III
  Videolab Project, in collaboration with Laboratório de Artes Criativas
  (LAC), will present the event Videolab Lagos III (Algarve, Portugal) on
  the 23rd and 24th January. André Bazin's book What is Cinema? serves as
  the background for this session and Videolab tries to explore the
  influence of cinema in contemporary creation. The example of
  found-footage, with its appropriation of pieces of other films, is a
  good example. The motto for this set of installations is the cinema as
  an Influential Art, where different artistic manifestations
  cross-relate. It will be interesting to discover the way some artists,
  though not making a direct appropriation of the pre-existent images,
  look for inspiration in previous films for their works. This new
  Videolab event in Lagos, Algarve, Portugal, tries to accommodate the
  screenings to the projection place/room, thus creating a bigger intimacy
  with the audience. The traditional exhibition places – cinemas – are
  substituted by more familial ambiences. That's exactly why an ordinary
  desk, filled with books and notebooks, can suddenly be transformed into
  a projection space… Artists: André Scucato and Cristina Pinheiro
  (Brazil) | Anna Chiaretta Lavatelli (USA) | Artemio Narro (Mexico) |
  Gregg Biermann (USA) | Hernâni Duarte Maria (Portugal) | Jay Rosenblatt
  (USA) | Jean-Luc Godard (France) | Johan Grimonprez (Belgium) | Miguel
  Peres dos Santos (Portugal) | Projecto Videolab (Portugal) DJ/VJ DJ
  ZIMMER DJ CGARDEN VJ FITIJANE Installations + DJ/VJ | 6.pm-12pm LAC
  Largo Convento Sr.ª da Glória 8600-660 Lagos

1/24
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Silent Movie Theatre, 611 N. Fairfax Ave.

THE ARTIST AND THE ARCHIVES - SHORT FILMS BY BILL MORRISON
  Los Angeles Filmforum and Cinfamily present The Artist and The Archives
  - Bill Morrison Shorts The forgotten becomes unforgettable in the
  exquisite 35mm shorts of justly celebrated filmmaker Bill Morrison,
  known for his groundbreaking feature Decasia. Resisting the lures of
  kitsch, nostalgia and winking sarcasm, Morrison's found footage films
  could be described as seances or invocations, playing on the idea of the
  motion picture as a kind of spiritual lost-and-found. Films include
  Light Is Calling, The Mesmerist, The Highwater Trilogy, The Film of Her,
  and Outerborough. General admission $10; Filmforum and Cinefamily
  members free. http://www.silentmovietheatre.com and
  http://lafilmforum.wordpress.com. Parking across the street at Fairfax
  High School. Cinefamily: 323-655-2510

1/24
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
8:45 p.m., AGO's Jackman Hall - 317 Dundas St. W.

THE FREE SCREEN - PALACE OF PLEASURE & EXPLODING PLASTIC INEVITABLE
  The first film produced by the McMaster Film Board (the seed of the
  Canadian Filmmakers Distribution Centre), John Hofsess's Palace of
  Pleasure was greeted as a watershed event in experimental and
  underground circles when it was released in the Sixties. It was praised
  by everyone from avant-garde filmmaker and critic Jonas Mekas to Roger
  Ebert, and hailed as a "vital part of the new cinema" by Gene Youngblood
  of the Los Angeles Free Press. Key to the emergence of experimental work
  in Ontario, Palace is explosively energetic, employing a barrage of
  techniques and approaches – multiple screen projection,
  superimpositions, hyper kinetic editing, kaleidoscopic effects – in its
  elaborate twin indictment of sensation-seeking Sixties youth culture and
  American imperialism. Hofsess, who went on to become the film critic for
  Maclean's, welds various elements together with both a comprehensive
  knowledge of avant-garde cinema and a desire to provoke. The film pushes
  as many buttons as it can, cross-cutting between a fairly graphic (for
  the period) sexual encounter, civil strife and war (ultimately, it's
  more about Thanatos than Eros), Velvet Underground tunes, lengthy
  psychedelic jams, and Leonard Cohen poems. (Palace's cast, incidentally,
  includes a young David Cronenberg.) Hofsess went on to make the
  notorious feature Columbus of Sex, now lost, which became one of the
  most scandalous censorship events of the era. Palace is Hofsess's only
  extant film, restored and presented here because of the painstaking work
  done by Ryerson PhD candidate Stephen Broomer, who will introduce and
  talk about the film tonight in its first public screening since 1968.
  Andy Warhol's Exploding Plastic Inevitable is Ronald Nameth's legendary
  and seminal record of a series of live performances involving pop art
  icon Andy Warhol, the Velvet Underground, members from Warhol's Factory
  and poet Gerard Malanga. An avant-garde document that is perfectly
  simpatico with Palace, the film collapses a series of different shows
  into a groundbreaking visual and sonic trip. "An experience, not an
  idea. . . . [T]he ethos of the entire pop life-style seems to be
  synthesized in Nameth's dazzling kinesthetic master-piece" (Gene
  Youngblood, Expanded Cinema).

1/24
Vancouver, British Columbia: Cineworks Independent Filmmakers Society
http://www.cineworks.ca
10am, The Interurban [1 East Hastings]

TECHNIQUES FOR INTERACTIVE CINEMA
  TECHNIQUES FOR INTERACTIVE CINEMA: INTRODUCTORY WORKSHOP FOR INDEPENDENT
  MEDIA ARTISTS. Technological advances are now enabling approaches to
  cinema previously unimaginable. Interactive movies, video mixing and
  even video games are forcing filmmakers and audiences alike to redefine
  the ways in which they engage in cinema. This workshop will investigate
  various techniques and theories that might be employed in the creation
  of an interactive cinema, be that narrative, experimental or something
  in between. In conjunction with Cineworks's presentation of The Soft
  Revolution, an interactive cinematic installation, this workshop offers
  an opportunity for those interested in interactive techniques to engage
  with artists Brian Johnson and Anthony Roberts in an intimate
  environment of exchange. Techniques for Interactive Cinema// 24 January
  2009// Interurban Gallery [1 East Hastings]// Cost is $35 for
  members/$50 for non-members// Registration: Please call 604.685.3841 or
  send an electronic message to Leanne at (address suppressed) Registration
  Deadline: 21 January 2009 Instructors: Brian Johnson's current field of
  work challenges the traditional parameters of filmmaking by inviting
  immediacy and improvisation into the cinematic experience. He is a
  member of the Truth Channel–an ongoing collective of artists working in
  the emerging forms of multimedia and performed cinema. Anthony Roberts
  is a writer/director, composer and teacher. He has worked on a number of
  groundbreaking film and multimedia projects whose concerns range from
  interactivity to improvisation to surrealist collage. In 1990 he formed
  The Truth Channel with filmmaker Bill Mullan–an experimental multimedia
  group that has co-produced over two-dozen installations/performances.

------------------------
SUNDAY, JANUARY 25, 2009
------------------------

1/25
Dublin, Ireland: Experimental Film Club
http://experimentalfilmclub.blogspot.com/
4pm, Ha'penny Bridge Inn (upstairs)

T , O , U , C , H , I , N , G: THE ARCHITECTURES OF PERCEPTION
  This month's programme looks at plastic, quasi-sculptural aspects of
  cinema as present in a series of correlated explorations of light, space
  and repetition. The starting point in selecting these films was Making a
  Home (2007), a video work by Cork-based artist Maximilian Le Cain, who
  also collaborated in curating this programme. The other films were
  selected for the various ways in which they resonate with and expand
  certain features present in Making a Home. In general terms, the films
  we are presenting (dis)articulate the structures of architecture, in the
  broadest and most perceptual sense of the word- space as it is
  objectively constructed (or dismantled), but also as it is experienced
  by the camera eye, by fictional characters and by the audience. Whilst
  each of the four films puts a different emphasis on one or more of these
  three centres of attention, they have in common that their drama is an
  individual subject's direct perceptual experience of light, time and
  space, occurring at the extreme limits of his or her senses. With:
  MAKING A HOME (Maximilian le Cain, 2007, 10mins., video, Ireland). LEO
  ES PARDO (Iván Zulueta, 1976, 10mins. 16mm., Spain). CHROMO SUB (Etienne
  O´Leary, 1968, 20mins, 16mm., France). T,O,U,C,H,I,N,G (Paul Sharits,
  1968, 12mins., 16mm., EEUU).

1/25
Houston, Texas: Domy Books Houston
http://www.domystore.com
8:30pm, 1709 Westheimer

CHANNELING: AN INVOCATION OF SPECTRAL BODIES AND QUEER SPIRITS
  CHANNELING: An Invocation of Spectral Bodies & Queer Spirits *a touring
  film and video program curated by Latham Zearfoss and Ethan White*
  CURATORS IN PERSON! CHANNELING is an entryway into the spirit realm and
  the queer body politic: a program of experimental moving image work that
  calls up the ghosts of the past and the specters of the future. The
  intent of the program is to re-imagine film and video as occult
  technologies that allow us to connect with the bodies, experiences, and
  emotions that are often invisible– ghostly, even–in everyday life. The
  works in the program take a personal approach in dealing with the
  political and historical problems that haunt the queer experience: the
  AIDS pandemic (Renwick, DiStefano), the body in transition
  (Montague),the idealized nuclear family (Pena, Robinson), and the narrow
  cultural standards of desirability (EMR, Moulton). CHANNELING presents
  emerging and established artists critically engaging with these concerns
  on their own campy, poetic, sexual,humorous, and even utopian terms,
  using a variety of aesthetic approaches such as digital video, homemade
  effects, saturated 8mm, home movies, animation, green screen, and more.
  Please visit http://channelingqueerspirits.wordpress.com for news, tour
  info, and more information about the artists and works included in the
  program. RUNNING ORDER: Vanessa Renwick - 9 is a Secret (2002, 6:00,
  video) Elliot Montague - Well Dressed (2006, 10:00, Super 8mm on video)
  Shana Moulton - Whispering Pines #7 (2006, 5:00, video) Michael Robinson
  - Carol Anne is Dead (2008, 7:30, video) EMR (Math Bass & Dylan Mira) -
  Somethings Gonna Soon (2008, 4:00, video) Aay Preston-Myint - Some
  Ghosts (2007, 2:00, video) Jillian Pena - Compromise (2005, 10:00,
  video) John Di Stefano - (tell me why): The Epistemology of Disco (1990,
  24:00, video) Total Running Time: ~68 min.

1/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00pm, 32 Second Avenue

ESSENTIAL CINEMA MAYA DEREN
  MESHES OF THE AFTERNOON 1943, 14 minutes, 16mm. Co-directed by Alexander
  Hammid. Music by Teiji Ito from 1959. AT LAND 1944, 15 minutes, 16mm,
  silent. Photographed by Hella Heyman and Alexander Hammid. A STUDY IN
  CHOREOGRAPHY FOR CAMERA 1945, 3 minutes, 16mm, silent. By Maya Deren and
  Talley Beatty. RITUAL IN TRANSFIGURED TIME 1946, 15 minutes, 16mm,
  silent. Choreographic collaboration with Frank Westbrook. Photographed
  by Hella Heyman. With Rita Christiani and Frank Westbrook Total running
  time: ca. 55 minutes.

1/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30pm, 32 Second Avenue

WILLARD MAAS, PROGRAM 1
  Poet, professor and husband of filmmaker Marie Menken, Willard Maas was
  one of the pioneers of the avant-garde film movement from the 1940s
  through 1960s. A larger-than-life personality, he chaired the first
  symposium on poetry and the film for Amos Vogel's Cinema 16, in which
  Dylan Thomas, Arthur Miller, Parker Tyler and Maya Deren appeared, and
  originated the term "film poem." With Menken, he formed the Gryphon
  Group to support and promote independent film production in an era where
  such a concept just didn't exist. His own works are quite classical in
  their way, dealing with myth, role-playing and the psychological
  interior. These two programs mix more recent preservations of Maas's
  short works with films preserved by Anthology back in the mid-1970s.
  MECHANICS OF LOVE (1955, 7 minutes 16mm, b&w, sound) Made with Ben
  Moore. Original zither score by John Gruen. NARCISSUS (1956, 59 minutes,
  16mm, b&w, sound) Preserved with support from the National Endowment for
  the Arts. "A film poem, a re-telling of the Greek myth in modern terms.
  In the traditional pool the water has become muddy and Narcissus finds
  that mirrors are more rewarding for the study of his changing
  reflections. There are three mirrors, each reflecting a dramatic study
  in self-love." –W.M. The act of love portrayed through poetic symbols.

1/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Avenue

WILLARD MAAS, PROGRAM 2
  A FOCUS ON WILLARD MAAS Poet, professor and husband of filmmaker Marie
  Menken, Willard Maas was one of the pioneers of the avant-garde film
  movement from the 1940s through 1960s. A larger-than-life personality,
  he chaired the first symposium on poetry and the film for Amos Vogel's
  Cinema 16, in which Dylan Thomas, Arthur Miller, Parker Tyler and Maya
  Deren appeared, and originated the term "film poem." With Menken, he
  formed the Gryphon Group to support and promote independent film
  production in an era where such a concept just didn't exist. His own
  works are quite classical in their way, dealing with myth, role-playing
  and the psychological interior. These two programs mix more recent
  preservations of Maas's short works with films preserved by Anthology
  back in the mid-1970s. GEOGRAPHY OF THE BODY (1943, 7 minutes, 16mm,
  b&w, sound) Preserved with support from the National Film Preservation
  Foundation. A film that uses magnification and extreme close-ups to
  create a poetic travelogue, the subject of which is the human body. The
  body becomes an undiscovered, mysterious continent. With commentary by
  the British poet, George Barker. IMAGE IN THE SNOW (1948, 29 minutes,
  16mm, b&w, sound) Preserved with support from the National Film
  Preservation Foundation. A modern morality tale, in which a young man
  led by despair searches a city for salvation. His spiritual journey
  through the lyric landscape of a dream leads him to a world of violence
  and disillusionment. IMAGE IN THE SNOW was made with the assistance of
  Marie Menken, with an original 12-tone score by Ben Weber. EXCITED
  TURKEYS (1966, 12 minutes, 16mm, color, sound) "A black comedy which, in
  its cruel ending, has been compared to Harold Pinter. It is a hilarious
  satire on the traditional Thanksgiving dinner. Everything is there but
  the soup, but it's nuts for sure. This is Maas's first comedy, and those
  who know his early classic works are in for some surprises." –GRYPHON
  FILM GROUP ANDY WARHOL'S SILVER FLOTATIONS (1966, 4 minutes, 16mm,
  color, sound) A portrait of Warhol's famous installation of floating
  silver helium-filled balloons at the Leo Castelli Gallery in 1966. Total
  running time: ca. 60 minutes.

1/25
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 valencia street

I WANTED EVERY DAY TO LAST FOREVER
  Sunday, January 25, 2009. 8PM $6 i wanted every day to last forever
  short films by irwin swirnoff (2003-present) Collection of short films
  shot on super 8 by local film-maker and kusf dj and co-music director
  irwin swirnoff. Irwin's films daydream into the sky & sun, finding small
  moments in the everyday that leave lasting impressions and allowing the
  viewer to drift in and out of their own memories, desires, longing and
  the pleasure that can come from being present in the everyday. His deep
  love of music has lead to collaborations with musicians who have created
  original score's for his work, including Tomo Yasuda (Tussle, Coconut,
  Hey Willpower) and Preston Swirnoff (The Shining Path, Monosov/Swirnoff,
  Habitat Sound Sysytem). Opening musical set by mira cook.
  www.myspace.com/miracook

------------------------
MONDAY, JANUARY 26, 2009
------------------------

1/26
Chicago, Illinois: Doc Films
http://docfilms.uchicago.edu
7:00, Ida Noyes Hall, 1212 E 59th St.

23RD PALM BRANCH (1966-1967, STAN BRAKHAGE) WITH AN INTRODUCTION BY FRED
CAMPER
  23rd Palm Branch (1966-1967, Stan Brakhage) 60 minutes, 16mm Admission:
  $5 When Brakhage and his family acquired a television set in the
  mid–1960s, he was appalled by the prosthetic, vicarious experience of
  the evils and violence of war that the device transmitted. For Brakhage,
  television's pixel–and–scan imagery mirrored the structure of remembered
  vision. In 23rd Psalm Branch, he adopts the strategy of film's enemy to
  combat it. 'TELEVISION,' he wrote, "dumped the implication of monstrous
  war guilt into my living room," and from that technological culpability
  he created what might be the most powerful anti–war film ever made. The
  screening will be introduced by Fred Camper.

1/26
Shreveport, Louisiana: and Korner Lounge
http://www.thekornerlounge.com
7:00pm, @ Korner Lounge / 800 Louisiana Avenue

-------------------------
TUESDAY, JANUARY 27, 2009
-------------------------

1/27
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
7:30pm, 55 33rd Street, 3rd Floor

THE ROH AND THE COOKED: STRUCTURAL FILM, ACTIONISM, PARACINEMA
  Branden W. Joseph will discuss the travels of Tony Conrad and Beverly
  Grant throughout Europe in the early 1970s. Their itinerary, and the
  transformations in Conrad's work upon his return to the United States,
  sheds light on the particular "crisis" of experimental cinema at the
  time and the manner in which it was (temporarily) overcome. Revising
  current understandings of the notion of there being "two avant-gardes"
  (as Peter Wollen famously put it), an examination of Conrad's
  development and his interactions with Malcolm Le Grice, Wilhelm and
  Birgit Hein, and Otto Muehl will outline another line of avant-garde
  development. Drawn from Conrad's personal archives and other research,
  this talk covers material that is not included in the author's recent
  book, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage.
  The talk will be preceded by a screening of relevant films: Kurt Kren,
  Mama und Papa (1964); Malcolm Le Grice, Little Dog for Roger (1967);
  Wilhelm and Birgit Hein, Roh Film (1968); Annabel Nicholson, Slides
  (1970); and Tony Conrad, 4-X Attack (1973), Curried 7302 (1973), and
  7302 Creole (1973). Branden W. Joseph is Associate Professor of modern
  and contemporary art in the Department of Art History and Archaeology at
  Columbia University. He is the author of Random Order: Robert
  Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003), Anthony McCall:
  The Solid Light Films and Related Works (ed. Christopher Eamon;
  Northwestern University Press/Steidl, 2005) and, most recently, Beyond
  the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books,
  2008). His writings have also appeared in Artforum, Bookforum, Art
  Journal, Critical Inquiry, October, Texte zur Kunst, and Les Cahiers du
  Musée national d'art moderne, as well as in such catalogues as CTRL
  [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother (2002),
  X-Screen: Film Installations and Actions in the 1960s and 1970s (2003),
  and Rauschenberg: Combines (2005). He is also a founding editor of Grey
  Room, a journal of architecture, art, media, and politics, published
  quarterly by MIT Press since 2000. Tickets - $7, available at door.

1/27
New Orleans, LA: Zeitgeist Multi-disciplinary Arts Center
http://www.zeitgeistinc.net
9:00pm, 1618 Oretha Castle Haley Blvd

---------------------------
WEDNESDAY, JANUARY 28, 2009
---------------------------

1/28
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:00 pm, Silent Movie Theatre, 611 N. Fairfax Ave.

AVANT-GARDE SILENT FILMS - "A PAGE OF MADNESS"
  Cinefamily and Los Angeles Filmforum present Avant-Garde Silent Films -
  "A Page of Madness" (w/ live score by The Gaslamp Killer) (Teinosuke
  Kinugasa, 1926). The most modern and challenging Japanese silent film to
  survive the firebombings of WWII, A Page of Madness throws the viewer
  into a maelstrom of hallucinations and obsession. General admission $14;
  Filmforum and Cinefamily members $10. http://www.silentmovietheatre.com
  and http://lafilmforum.wordpress.com. Parking across the street at
  Fairfax High School. Cinefamily: 323-655-2510

1/28
New Orleans, LA: Zeitgeist Multi-disciplinary Arts Center
http://www.zeitgeistinc.net
9:00pm, 1618 Oretha Castle Haley Blvd

--------------------------
THURSDAY, JANUARY 29, 2009
--------------------------

1/29
Gent, Belgium: COURTisane
http://www.courtisane.be/
20:00, Art Centre Vooruit

WITHOUT A TRACE. ERASING INSCRIPTION, INSCRIPTING ERASURE
  WITHOUT A TRACE Erasing Inscription, Inscripting Erasure Thursday 29
  January 2009, Art Centre Vooruit, Gent (BE), 20:00. Program produced by
  Courtisane, in collaboration with Atelier Graphoui. To erase, remove,
  rub out or conceal signs and images has never been as easy as it is in
  today's era of digital hybridization. The immense possibilities in image
  processing, compositing and trimming have led to the development of a
  "Photoshop Reality", a corrected reality which has penetrated unnoticed
  the heart of our visual culture. However, the act of erasing is never
  without trace: there always remains a residue, a print upon the surface,
  a ghost where once was an image. Whether we are speaking of bare
  scratching or of calculated digital layering, each erasure leaves a
  trace behind, each absence suggests a (missed) presence. This ambiguity
  is even stronger in the context of the moving image, which only exists
  itself thanks to a sort of progressive "erasure", each image canceling
  the previous one. Elimination and inscription come together. The act of
  erasing, "of" and "in" the image, unavoidably leaves the trace of an
  event underway. It makes the new visible to itself as it redefines what
  is visible in the old. The film, video and media works in this programme
  use the idea and the gesture of removing as the basis for an exploration
  of the tension between presence and absence, appearing and disappearing.
  Cory Arcangel, Martin Arnold, Tammuz Binshtock, Marcel Broodthaers,
  Natalie Frigo, Stephen Gray, Pierre Hébert, Martijn Hendriks, Jodi,
  Spike Jonze, Matt McCormick, Denis Savary, Naomi Uman MORE INFO
  www.diagonalthoughts.com / www.courtisane.be

1/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Avenue

SOCCER AS NEVER BEFORE / FUSSBALL WIE NOCH NIE
  Hellmuth Costard 1970, 105 minutes, video. On September 12, 1970,
  Manchester United beat Coventry 2-0. It was not an important victory,
  but a record was preserved of the match that was [until recently] unique
  in the history of film and television. Using eight 16mm cameras, Costard
  followed every move, over the course of the match's ninety minutes, of
  the man in the red #11 jersey, the mercurial George Best. As a reviewer
  commented at the time, the film's concentration on one player actually
  shows "the true extent to which the sport is all about teamwork." For a
  filmmaker as politically aware as Costard, reviews like that would have
  been music to his ears.

1/29
Vancouver, British Columbia: Cineworks Independent Filmmakers Society
http://www.cineworks.ca
7pm, The Interurban [1 East Hastings]

INTERDISCIPLINARY ARTISTS IN THE CINEMATIC CONTINUUM
  INTERDISCIPLINARY ARTISTS IN THE CINEMATIC CONTINUUM: A CINEMATIC SALON
  WITH THE ARTISTS OF THE SOFT REVOLUTION. Cineworks Independent
  Filmmakers Society celebrates our presentation of the interactive
  cinematic installation The Soft Revolution with a discussion with its
  makers. Are artists still defined by their chosen medium? How does the
  movement toward an interdisciplinary approach to creation affect
  artistic product and practice? Focusing on inventive uses of film in
  practices that are not film-centric, and given the proliferation of
  artist films in galleries, this salon will explore the future of film
  outside of the theatre. This moderated discussion will feature excerpts
  of The Soft Revolution to guide a dialogue that will take place in an
  intimate and informal atmosphere where audience members will be
  encouraged to join the exchange. Brian Johnson's current field of work
  challenges the traditional parameters of filmmaking by inviting
  immediacy and improvisation into the cinematic experience. He is a
  member of the Truth Channel–an ongoing collective of artists working in
  the emerging forms of multimedia and performed cinema. Anthony Roberts
  is a writer/director, composer and teacher. He has worked on a number of
  groundbreaking film and multimedia projects whose concerns range from
  interactivity to improvisation to surrealist collage. In 1990 he formed
  The Truth Channel with filmmaker Bill Mullan–an experimental multimedia
  group that has co-produced over two-dozen installations/performances.
  Moderator TBA. Interdisciplinary Artists in the Cinematic Continuum// 29
  January 2009, 7pm// Interurban Gallery [1 East Hastings]// Free

------------------------
FRIDAY, JANUARY 30, 2009
------------------------

1/30
Atlanta, Georgia: Eyedrum
http://www.eyedrum.org
8:00 PM, 290 Martin Luther King Jr Dr, Suite 8

MINUTES TO GO: WILLIAM BURROUGHS AND BRION GYSIN IN THE BEAT HOTEL
  Celebrating the fiftieth anniversary of the publication of Naked Lunch,
  this one-night exhibition includes rare books and films of Beat
  literature icon William S. Burroughs | co-sponsored by the Manuscript,
  Archives, and Rare Book Library at Emory University | Paris, 1959.
  William Burroughs was staying in a rundown hotel at 9 rue Git-le-Couer,
  on the Left Bank. His artist friend Brion Gysin had recently moved into
  Allen Ginsberg's former room at the hotel. By year's end, Burroughs
  would assemble and publish the final version of Naked Lunch, the
  landmark novel which turned its author into an icon of Beat literature.
  | During their time on the rue Git-le-Couer, Burroughs and Gysin
  developed a radical system of artistic expression, and applied their
  ideas across media: writing, painting, sound art, and filmmaking.
  Central to these pursuits was Gysin's accidental discovery of the
  "cut-up" – a method of writing in which texts are literally cut up and
  rearranged, revealing hidden meanings and subverting the foundations of
  language. With such collaborators as Ginsberg and Gregory Corso adding
  to the experimentation and aura, 9 rue Git-le-Couer became legendary as
  the "Beat Hotel." | "Minutes to Go," a one-night exhibition and
  screening, celebrates the fiftieth anniversary of the publication of
  Naked Lunch by exploring the surprisingly wide range of artistic
  experiments undertaken by Burroughs and Gysin during their Paris stay.
  Rare books and other items from the Danowski Collection at Emory
  University's Manuscripts, Archives, and Rare Books Library will be on
  view. Also featured are the short films The Cut-Ups and Towers Open
  Fire, two collaborations between Burroughs, Gysin, and filmmaker Antony
  Balch which encapsulate on film the cut-up technique and its powerful,
  hallucinatory effects. | The event takes place at Eyedrum, Atlanta's
  premier alternative art space, and is curated and hosted by Andy Ditzler
  as part of the Film Love series. Film Love has presented over sixty
  screenings exploring the history of experimental film, and has been
  voted Atlanta's Best Film Series by the critics of Creative Loafing. |
  PROGRAM: Towers Open Fire (film directed by Antony Balch, featuring
  William Burroughs and Brion Gysin, 1963, 10 minutes); The Cut-Ups (film
  directed by Antony Balch, featuring William Burroughs and Brion Gysin,
  completed 1963, 18 minutes); Display of rare books, photos and Beat
  Hotel-related items from the Brion Gysin archive and Raymond Danowski
  Poetry Library at Emory; other film selections TBA | MINUTES TO GO is a
  Film Love event. The Film Love series provides access to rare but
  important films, and seeks to increase awareness of the rich history of
  experimental and avant-garde film. The series is curated and hosted by
  Andy Ditzler for Frequent Small Meals. Film Love was voted Best Film
  Series in Atlanta by the critics of Creative Loafing in 2006.

1/30
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
7:30pm, 55 33rd Street, 3rd Floor

HOODED AND HEADLESS: AN ERRATIC SURVEY OF ANONYMITY IN RECENT VIDEO AND
LIFE
  Curated by Harry Dodge "The human brain is bombarded with information,
  and our brains automatically eliminate redundant information and
  remember only unique features in order to identify objects or people.
  FaceIt video cameras capture a face and are fed into a computer which
  identifies people by their facial features. Visionics, the manufacturer
  of the system, concluded there are 80 unique landmarks on a face, which
  include eye sockets, cheekbones and the bridge of the nose. The computer
  measures these landmarks and their relationship to one another. Since
  each face has its own unique pattern, with the exception of identical
  twins, the computer is able to distinguish one person from another by
  referencing the person's face against a database of known people. While
  the program potentially has 80 landmarks to work with, the computer only
  has to match 14 to make a reliable identification. The software ignores
  changeable characteristics like: hair color, hair style, lighting, and
  facial expressions. On May 7, 1999 Visionics announced that their FaceIt
  surveillance system has benchmarked at 12 million comparisons per
  minute." - Christopher Benjamin, "ShotSpotter and FaceIt: The Tools of
  Mass Monitoring," UCLA Journal of Law and Technology (2003). "Privacy is
  the basis of individuality. To be alone and be let alone, to be with
  chosen company, to say what you think, or don't think but to say what
  you will, is to be yourself. Solitude is imperative..." - United States
  v. White, 401 U.S. 745, 762-763 (1971). This program consists of a short
  talk on the function and condition of anonymity vis a vis the hood,
  followed by a program of films and videos, including a new work by Harry
  Dodge, that evoke or exploit hoods, masks, facelessness or headlessness.
  What does the hood reference? What does it allow? What is gained and
  lost with the obscuring of a face? (Or the complete dispatch of a head?)
  What is the relationship of the face to compassion? What is the
  relationship of specificity (the local) to ethical response? What is
  possible in a performance without a face? Kardinal, Otto Meuhl, 16mm,
  1967, 5 mins Clown, Luther Price, S8mm, 1991, 13 mins Somethings Gonna
  Soon, Math Bass and Dylan Mira, video, 2008, 4 mins See Yourself, Nadia
  Dougherty, video, 2008, 6 mins This Beast Called Force, Harry Dodge,
  video, 2008, 16 mins Current Affairs, Dan Acostioaei, video, 2008, 5
  mins Being Bamboo, Brian Bress, video, 2006, 3 mins Sans Gravity, Nao
  Bustamante, video, 1998, 1 min Porky, John Sturgeon, video, 1974, 2 mins
  Marks, Skip Arnold, video, 1984, 13 mins Followed by a conversation
  between Dodge and Eileen Myles. Harriet "Harry" Dodge is a visual artist
  working in video and sculpture, with a focus on shape, unnameability,
  and hybridity/defiance. In the 90's Dodge ran a community-based
  performance space called The Bearded Lady, while also writing and
  performing several critically-acclaimed, large-scale monologues. By Hook
  or By Crook, an award-winning, feature-length movie which Dodge
  co-wrote, edited, and directed, premiered in 2000. After graduating with
  an MFA from Milton Avery Graduate School of the Arts at Bard College in
  2003, Dodge became part of a collaborative videomaking team whose work
  has been exhibited nationally and internationally, including at the 2008
  Whitney Biennial. More recently, Dodge co-founded the collaboration
  TESTHOLE, which has since undertaken a series of community-based,
  interventions/partnerships experimenting with decomposition and
  fertility. Dodge teaches art and writing at CalArts, UCLA and UCSD.
  Tickets - $7, available at door.

1/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Avenue

THREE VIDEOS BY TAKAHIKO IIMURA
  Takahiko Iimura SELF IDENTITY 1972-74 (revised 2008), 5 minutes, video.
  "The first video I conceived about 'myself'…. The basic idea is to
  explore the formation of identity in a situation in which I face the
  camera and say my name, alternating between the positive and negative
  forms of utterance and using different pronouns – I, you, he – to
  designate the subject." –Takahiko Iimura, DERRIDA AND METAMEDIA
  OBSERVER/OBSERVED AND OTHER WORKS OF VIDEO SEMIOLOGY 1975-1998, 22
  minutes, video. With Takahiko Iimura and Akiko Iimura. Co-produced with
  the Banff Centre for the Arts, Banff, Canada and Euphonic Inc., Tokyo.
  SEEING/HEARING/SPEAKING 2002, 33 minutes, video. Co-produced with the
  Institute for Electronic Arts, Alfred University, New York; Euphonic
  Inc., Tokyo; and Tokyo Institute of Polytechnics, Tokyo.

1/30
Toronto, Ontario, Canada: the 8 fest
http://www.the8fest.com
7pm, Trash Palace - 89B Niagara Street

THE WEST COAST INVADES THE EAST
  curated by Julie Saragosa. The Project8 Film Collective is a group of
  small-format filmmakers who share skills of DIY and hand-made filmmaking
  in the interest of developing a diverse community of local independent
  filmmakers in Vancouver. Every year, the Project8 Film Collective runs a
  free mentorship program for people who are interested in learning how to
  make a Super 8 film, but have limited access to resources to do so –
  Super8 Boot Camp. This screening represents work made by participants of
  the Boot Camp, the collective members, and work that's been screened at
  Project8's annual festival. All films in Super 8! Films by Kathleen
  Gowman, Sara Young, Mary Shearman, Diane Thorn Jacobs & Andrew Robert
  Smith, Amanda Dawn Christie, Liz Glowacki, Scott Amos, C.J. Brabant, Ian
  MacTilstra, Sacha Fink, Nancy Lizuck.

1/30
Toronto, Ontario, Canada: the 8 fest
http://www.the8fest.com
8:30pm, Trash Palace - 89B Niagara Street

RED SHIFT
  Jonathan Culp super 8 performance with live accompaniment (composed by
  Liz Hysen) Toronto 2009 40 min. World Premiere! In this long piece
  commissioned specially for this year's the 8 fest, filmmaker Jonathan
  Culp creates a hypnotic, rhythmic collage of commercially produced Super
  8 material. Cutting between faded ("red shifted") Eastmancolor
  industrial films, classroom-film curios, and Hollywood imagery old and
  new, the pictures interlock with the haunting semi-acoustic dissonances
  of local band Picastro, performing live with the film. Red Shift is a
  slowly disintegrating nightmare of utilitarian media gone wrong. More
  info on Jonathan Culp: http://www.satanmacnuggit.com More info on
  Picastro (Liz Hysen, Nick Storring and Brandon Valdivia):
  http://www.myspace.com/picastro

--------------------------
SATURDAY, JANUARY 31, 2009
--------------------------

1/31
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Silent Movie Theatre, 611 N. Fairfax Ave.

AN EVENING WITH RICK PRELINGER AND THE PRELINGER ARCHIVES
  Cinefamily and Los Angeles Filmforum present The Artist and The Archives
  - An Evening with Rick Prelinger and The Prelinger Archives Archivist
  Rick Prelinger accumulated perhaps the country's largest collection of
  "ephemeral" works – industrial and sponsored films, home movies,
  educational films and commercials, and more. Tonight Prelinger discusses
  the life and work of Jamison "Jam" Handy, who produced almost 7,000
  sponsored industrial and commercial films during his lifetime, including
  the "Roads to Romance" series promoting tourism by car, and many more.
  Select Jam Handy films from the archive will be screened after the
  presentation. General admission $10; Filmforum and Cinefamily members
  free. http://www.silentmovietheatre.com and
  http://lafilmforum.wordpress.com. Parking across the street at Fairfax
  High School. Cinefamily: 323-655-2510

1/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45pm, 32 Second Avenue

ESSENTIAL CINEMA STRIKE / STACHKA
  Sergei Eisenstein 1925, 106 minutes, 35mm, b&w, silent. With Russian
  intertitles; English synopsis available. Eisenstein's interest in the
  Freudian father complex drives this psychological scenario in which
  non-actors step forward to acknowledge the viewer, illustrating
  Eisenstein's desire to penetrate to the heart of cinema, sidestepping
  realism by "being real."

1/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00pm, 32 Second Avenue

ESSENTIAL CINEMA BATTLESHIP POTEMKIN / BRONENOSETS POTEMKIN
  Sergei Eisenstein 1925, 74 minutes, 35mm, b&w, silent. With English
  intertitles. Eisenstein's constructivist montage and rigid,
  super-structured plot share equal weight with a seemingly spontaneous,
  inflamed emotion.

1/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45pm, 32 Second Avenue

1/31
Toronto, Ontario, Canada: the 8 fest
http://www.the8fest.com
4pm, Trash Palace - 89B Niagara Street

ARTIST TALK + WHITE CALLIGRAPHY PERFORMANCE BY TAKAHIKO IIMURA
  White Calligraphy Takahiko Iimura live Super 8 performance Tokyo
  1967/2009. Takahiko Iimura has been a pioneer artist of Japanese
  experimental film and video, working in film since 1960 and with video
  since 1970. He has been a link between the North American and Japanese
  experimental media communities for over forty years, spending time and
  making work in both New York and Tokyo.Iimura will discuss his use of
  small-gauge film and his body of work as a whole after performing White
  Calligraphy. This piece reworks a film initially made in 1967 by
  writing/scratching the characters of the "Kojiki", the oldest story in
  Japan, directly onto 16mm black leader (now reduced to Super 8). The
  language flows by at one character per frame. Iimura handholds the Super
  8 projector, varying the speed and angle at will. The result
  anthropomorphizes the iconographic characters of the story, animating
  language into a visual dance.

1/31
Toronto, Ontario, Canada: the 8 fest
http://www.the8fest.com
7pm, Trash Palace - 89B Niagara Street

MY YEAR IN MALAYA
  Homemade Movies home movie history project presents My Year in Malaya.
  Films shot by Harold Norris with live narration by Cathy Punter. 8mm
  Toronto 1953-54 30 min. In 1953 at the age of 13 Cathy Norris (now Cathy
  Punter) travelled with her family from Toronto to live in Malaya for a
  year. Her father Harold recorded their time in Malaya on beautifully
  preserved colour 8mm film and slides. Harold Norris was a schoolteacher
  in Toronto and was sent under the post-World War II Colombo development
  plan to teach at the government school in the city of Ipoh (today the
  capital of the Malaysian state of Perak). Cathy has vivid memories of
  what she saw in Malaya: The Sultan's court, convent school, the hustle
  and bustle of street markets, British colonial officials, tin mining,
  bearing Kavadis on flesh hooks at the Thaipusam religious procession,
  the jungle and countryside, dhow fishing on the Straights of Malacca –
  to name a few of the subjects captured in her father's films. followed
  by . . .Bring Your Home Movies The second part of our screening is your
  chance to bring your home movies to show (8mm, super 8). Dig through
  your parent's attic or grab that orphaned reel you found at the thrift
  shop. – AND – If you no longer have a working projector, come early to
  our Home Movie Repair Clinic starting at 6 PM. Let us help you
  one-on-one to look through your home movie collection again and give
  advice on preserving your films.

1/31
Toronto, Ontario, Canada: the 8 fest
http://www.the8fest.com
9pm, Trash Palace - 89B Niagara Street

BAGEROO, TOO!
  recent Super 8 filmmaking! An exciting collection of new small gauge
  films closes out this year's screenings! Eight of these films were
  selected from an international call for recent Super 8 films. Augmenting
  the selection of recent work is five brand-new films commissioned by the
  8 fest, and supported by Kodak Canada and Exclusive Film & Video.
  Further proof of the many possibilities of small-gauge filmmaking, these
  films range from evocative expressions of place to comedic entendres.
  Hailing from Toronto, across Canada and from the USA, Germany & Japan,
  this survey shows glimpses of the active practices of Super 8 film. All
  films in Super 8! Films by Jason Halprin (Pittsburgh), Jason Ebanks
  (Toronto), John Porter (Toronto), Coral Aiken (Montreal), Julie Doucette
  (Moncton), Alex Rogalski (Toronto), Mario Doucette (Moncton), Alexandre
  Larose (Montreal), Tanya Read (Toronto), Andrew J. Paterson (Toronto),
  Rob Cruickshank (Toronto), Tomonari Nishikawa (San Francisco/Tokyo),
  Adam Paradis (Boston), and Dagie Brundert (Berlin).

------------------------
SUNDAY, FEBRUARY 1, 2009
------------------------

2/1
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00pm, 32 Second Avenue

ESSENTIAL CINEMA OLD AND NEW
  Sergei Eisenstein 1929, 120 minutes, 35mm, b&w, silent. With Russian
  intertitles; English synopsis available. Known also as THE GENERAL LINE,
  this is one of Eisenstein's least-known films. With it, he developed and
  perfected his theories of "mise-en-cadre," using the montage of
  characters in the foreground and background to conjure meanings, and
  "overtonal montage," bringing silent film to its zenith.

2/1
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Avenue

ESSENTIAL CINEMA OCTOBER / OKTYABR
  Sergei Eisenstein 1928, 143 minutes, 35mm, b&w, silent. With Russian
  intertitles; English synopsis available. Eisenstein celebrates the
  baroque in OCTOBER, as opposed to the Greek classicism of POTEMKIN,
  disappointing contemporary audience expectations. "Intellectual cinema"
  starts here.

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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.

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