From: Weekly Listing (email suppressed)
Date: Sat Aug 29 2009 - 08:49:07 PDT
This week [August 29 - September 6, 2009] in avant garde cinema
PROGRAMMER REMINDER! Fall is coming up; be sure to enter your
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NEW CALLS FOR ENTRIES:
=====================
2 festivals in SE Asia (Phnom Penh / Bangkok; Deadline: September 25, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1070.ann
Faux Film Festival (Portland OR, USA; Deadline: December 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1076.ann
Ava Gardner Independent Film Festival (Smithfield, NC, USA; Deadline: October 12, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1077.ann
International film competition - "Intervideo Talent Award" (Mainz, Germany; Deadline: November 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1078.ann
Rencontres Internationales Paris/Berlin/Madrid (Paris, France; Deadline: September 05, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1079.ann
DEADLINES APPROACHING:
======================
SEE THE VOICE: Visible Verse 09 (Vancouver; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1013.ann
5th Renderyard Short Film Festival (England & Spain; Deadline: September 07, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1026.ann
HEART OF GOLD INTERNATIONAL FILM FESTIVAL (Gympie, Queensland, Austalia; Deadline: September 25, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1037.ann
CologneOFF (Cologne, Germany; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1045.ann
Accessibility 2009: Cross Currents (Sumter, SC USA; Deadline: October 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1048.ann
Magazine BLU BLUfilm Shortfest (Pleasanton, CA, USA; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1049.ann
Los Angeles as a Character (Los Angeles, CA USA; Deadline: October 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1052.ann
Boulder International Film Festival (Boulder, CO USA; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1058.ann
MUSEEK (Saint-Petersburg, Russia; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1059.ann
the 8 fest (Toronto, Ontario, Canada; Deadline: September 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1066.ann
Hot Sauce & Magnolias (Southern Region, USA; Deadline: September 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1067.ann
Boston Underground Film Festival (Boston, MA, USA; Deadline: September 25, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1069.ann
2 festivals in SE Asia (Phnom Penh / Bangkok; Deadline: September 25, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1070.ann
KINOFILM, Manchester International Short Film Festival (Manchester, England; Deadline: September 10, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1073.ann
The Flickering Light Film Screening Series (Philadelphia, PA USA; Deadline: September 07, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1075.ann
Rencontres Internationales Paris/Berlin/Madrid (Paris, France; Deadline: September 05, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1079.ann
CAMBOFEST: Film, Video & Animation Festival of Cambodia (Phnom Penh, Cambodia; Deadline: September 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=996.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Sacrificial offerings [August 29, Brooklyn, New York]
* Sixth of the World [August 29, New York, New York]
* Forward, Soviet! [August 29, New York, New York]
* Experiments On Film #104 [August 29, Pittsburgh, Pennsylvania]
* Richard Avedon Film Series: Program 8 [August 29, San Francisco, California]
* Sacrificial offerings [August 30, Brooklyn, New York]
* Kino-Eye [August 30, New York, New York]
* Three Songs About Lenin [August 30, New York, New York]
* Hollis Frampton's Hapax Legomena (Sections 4 Through 7) [August 30, Washington, DC]
* Essential visual Music: Rare Classics From Cvm Archives [September 1, Berkeley, California]
* Bijou [September 1, Brooklyn, New York]
* Paul Clipson Presents: Subversive Documentaries [September 1, San Francisco, California]
* Experimental Narrative Cinema By Meredith Drum and Alison Ward [September 2, Brooklyn, New York]
* Meredith Drum [September 2, Brooklyn, New York]
Events are sorted by CITY within each DATE.
-------------------------
SATURDAY, AUGUST 29, 2009
-------------------------
8/29
Brooklyn, New York: Lake Ivan Performance Group
http://www.lakeivan.org
2pm, The Brick 575 Metropolitan Avenue,
SACRIFICIAL OFFERINGS
see August 28th for details
8/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:15 pm, 32 2nd Avenue
SIXTH OF THE WORLD
by DZIGA VERTOV 1926, 74 minutes, 35mm, silent. With Russian
intertitles; English synopsis available.
8/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00pm, 32 2nd Avenue
FORWARD, SOVIET!
DZIGA VERTOV 1925-26, 73 minutes, 35mm, silent. With Russian
intertitles; English synopsis available
8/29
Pittsburgh, Pennsylvania: Jefferson Presents...
http://www.myspace.com/jeffersonpresents
9:00pm, Garfield Artworks, 4931 Penn Ave.
EXPERIMENTS ON FILM #104
Sat. 08/29/09, 9:00pm, Garfield Artworks, 4931 Penn Ave., $5, $4
Students. ----------------Alan Berliner: Color Wheel. 1977, 16mm, color,
silent, 19.75 min Filmed throughout the changing light of the full year,
a child's hand pushes merry-go-round spins roulette-wheel-like color
energy: red snow, blue rain, green paint. ---------------Karel Doing:
Whirlwind. 1998, 16mm, color, silent, 9 min Performances utilising
light, lenses, projections and bodily interventions were the source for
this film. By means of stop-motion, long shutter speeds and opticals
these performances are manipulated and intensified; resulting in a
labyrinth of spaces, reassembling levels of consciousness. The essence
of cinema, writing with light, is represented in a hallucinatory way.
----------------Nancy Graves: Isy Boukir 1971, 16mm, DVD_NTSC, color,
sound, 16 min ISY BOUKIR contains footage filmed in the Sahara during
eighteen days. I wanted to extend sequences in GOULIMINE, 1970 and to a
greater degree permit the animal motions to determine structure. An
arriflex was often positioned five to ten feet from the animals. In New
York, partite animal forms were seperated into two segments: as walking
and as graduated motion. Through the edited sequential duration, camel
morphology vies with the viewer's inherent anthropomorphism... This film
is the most successful in that the impression of these animals as
primordial beings existing in barren yet awesomely beautiful
surroundings far outweighs a consciousness of complicated editing and
sound relationships.--N. G. "ISY BOUKIR is not exactly a study of
camels--though unavoidably it is full of the material for such a
study--but rather a study of the way in a flock of camels, individual
camels, and parts of a camels, occupy the space available to the camera
frame. This may sound preteniously abstract, but Ms. Graves's film is
precise and wonderfully particular, and as appreciativee of its camels
as of the controlled rhythms of their surges across the screen, the
slight shifting of their legs, the curves of their extended necks. It is
altogethter beautiful, rich, assured, tactful and intensive
filmmaking."--Roger Greenspun, New York Times ----------------George
Griffin: Block Print 1977, 16mm, color, silent, 16 min 1. Walk around a
city block aiming a movie camera at the seam between sidewalk and
buildings. @24fps, this event lasts 5 minutes. 2. Repeat 1. holding
camera on its side, shooting @12 fps. This shot is then duplicated on
negative material; then both original and print are sandwiched one frame
out of phase and optically printed on reversal material. 3. Negative
print (see 2.) is fed into Xerox microfilm printer which produces a
continuous paper enlargement. This roll is then chopped up with a paper
cutter while simultaneously being reconstituted by single frame
photography. (Mount page/frames on a mutoscope reel.) 4. Walk around
block (see 1.) aiming single frame camera at mutoscope pages of xeroxed
frames in foreground and actual seam of sidewalk and buildings in
background. Alternate version: Take roll of uncut Xeroxed frames back to
street and wrap block. Shoot this with single frame camera recording
duplicate of print in foreground and actuality in background.-- G. G.
----------------Mike Henderson: Dufus 1970, 16mm, black and white,
sound, 8 min "Henderson movies are the first movies in the world to
bring the authentic 'talkin blues' tradition into film, THE LAST SUPPER
and DUFUS are illustrated funky blues. His films are the best that I've
seen anywhere in a long time." --Robert Nelson ----------------Week of
the Angry Arts: For Life, Against The War (Selections) 1967, 16mm, color
& b/w, sound, 38 min This film is composed of seventeen short films,
made in response to an invitation from the Week of the Angry Arts. More
than sixty film-makers responded to that invitation, with films from one
to three minutes in length. The first compilation ran for three hours.
The present film is composed of selections from the original version.
Featuring Storm de Hirsch, John Hawkins, Stan Vanderbeek, Robert Breer,
Dick Preston, Lee Savage, Nina Feinberg, Ron Finne, Hannah Weiner,
Manfred Kirschheimer & Peter Eliscu, Robert Fiore, Fred Wellington,
Lionel Martinez, Larry Jordan, Lloyd Williams, Leo Hurwitz & Peggy
Lawson & Tom Hurwitz, Hilary Harris.
8/29
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
3:00 pm, SFMOMA: Phyllis Wattis Theater
RICHARD AVEDON FILM SERIES: PROGRAM 8
In conjunction with Richard Avedon: Photographs 1946-2004, we take up
the celebrated photographer's 1964 collaboration with writer (and high
school classmate) James Baldwin, entitled Nothing Personal. Published a
year after John F. Kennedy's assassination, the resulting book
highlights the civil rights movement, protest politics of both the Left
and the Right, and American identity in that era. Avedon juxtaposes an
American Nazi Party salute with a naked Allen Ginsberg, placing between
these poles figures such as segregationist George Wallace,
scientist-turned-antinuclear-activist Linus Pauling, members of
Daughters of the American Revolution, and William Cansby, a man born
into slavery. This film series presents perspectives on these themes —
circa 1964. (Many titles were suggested by Andy Ditzler's Civil Rights
on Film series at Emory University, part of his ongoing Film Love
series.) PROGRAM 8: A project of San Francisco State University, the San
Francisco Bay Area Television Archive collects moving images chronicling
the social and cultural history of the region. Included in its holdings
are news reports from the early days of KQED. This program features two
segments produced by KQED veteran, Richard Moore. Take This Hammer shows
James Baldwin with a mobile TV crew visiting community leaders in San
Francisco's predominately African American neighborhoods. Losing Just
the Same focuses on the day-to-day lives of youth growing up in an
Oakland ghetto. Director/Producer Moore will introduce the program on
Thursday, August 27, and do a post-screening Q&A. FILMS: Take This
Hammer, KQED, 1964, 45 min., video; Losing Just the Same, KQED, 1966, 58
min., video
-----------------------
SUNDAY, AUGUST 30, 2009
-----------------------
8/30
Brooklyn, New York: Lake Ivan Performance Group
http://www.lakeivan.org
8 pm, The Brick 575 Metropolitan Avenue,
SACRIFICIAL OFFERINGS
Please come to a fascinating experiment in improvisation in video and
performance, which will be presented several times throughout the month
of August. David Finkelstein and Ian W. Hill collaborated on a series of
improvised verbal duets, which they videotaped. David used the footage
to generate a video work; Ian used the transcribed text from the same
footage to generate a theater piece. Both will be presented together in
the program. Agnes de Garron also added her improvisational skills to
the film, in a star turn as the Oracular Priestess. How will Ian's play
and David's video of the same words be similar to each other or
radically different? Please come find out!
8/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00pm, 32 2nd Avenue
KINO-EYE
by DZIGA VERTOV 1925, 70 minutes, 16mm, silent.
8/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
THREE SONGS ABOUT LENIN
DZIGA VERTOV 1934, 60 minutes, 35mm. In Russian with no subtitles;
English synopsis available.
8/30
Washington, DC: National Gallery of Art
http://www.nga.gov
4:30pm, Sixth Street and Constitution Avenue NW
HOLLIS FRAMPTON'S HAPAX LEGOMENA (SECTIONS 4 THROUGH 7)
One of the towering figures of the American avant-garde movement of the
1960s, Hollis Frampton (1936–1984)—theoretician, photographer,
raconteur, and friend of many visual artists—completed his seven-part
meditation Hapax Legomena ("words or things appearing once") in 1972. It
was restored this year under the supervision of New York University
professor Bill Brand, through the cooperation of the National Film
Preservation Foundation, Museum of Modern Art, Anthology Film Archives,
and New York University Moving Image Archiving and Preservation Program.
--------------------------
TUESDAY, SEPTEMBER 1, 2009
--------------------------
9/1
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30 pm, 2575 Bancroft Way
ESSENTIAL VISUAL MUSIC: RARE CLASSICS FROM CVM ARCHIVES
This evening features a range of work, from 1920s German film
experiments to light-show psychedelia, highlighting the evolving
technology and artistic sophistication of visual music and experimental
animation. The program includes films from the tradition of "color
organ" experimentation, as well as films designed to be used in
performance contexts and other forms of expanded cinema, often with
independent musical accompaniment. Accordingly, one of the themes that
emerges from this program is a dialogue between structure and
spontaneity in visual music. Many of the prints represent recent
preservation work by the Center for Visual Music. Introduced by Cindy
Keefer of CVM. Program: • R-1 ein Formspiel (Oskar Fischinger, Germany,
c. 1926–33 (1993 re-creation by William Moritz/Fischinger Archive), 7
mins, Sound on CD, B&W/Tinted/Color, Cinemascope, 35mm). Komposition in
Blau (Composition in Blue) (Oskar Fischinger, Germany, 1935, 4 mins,
35mm). Dockum Mobilcolor Performance at the Guggenheim Museum (Charles
Dockum, U.S., 1952, 7 mins, Silent). Demonstration of Mobilcolor
Projector (Charles Dockum, U.S., 1966, 4 mins). Mobilcolor Performance
Film (Charles Dockum, U.S., 1966, 3 mins, Silent). Muntz TV Commercial
(Oskar Fischinger, 1952, 1 min, B&W, Originally 35mm). Mood Contrasts
(Mary Ellen Bute, U.S., 1953, 7 mins, Originally 35mm). Cibernetik 5.3
(John Stehura, U.S., 1960–65, 8 mins, Digital video transferred from
16mm). Turn, Turn, Turn (Jud Yalkut, U.S., 1966, 10 mins, Sound by
USCO). Single Wing Turquoise Bird Light Show Film (U.S., 1971, 5 mins).
Tanka (David Lebrun, U.S., 1976, 9 mins). Celebration (Jules Engel,
U.S., 1978, 4 mins). 3 Arctic Flowers (Jules Engel, U.S., 1978, 3 mins).
Mobiles (Jules Engel, U.S., 1978, 3 mins). • Total running time: 75
mins, Color, 16mm unless otherwise indicated. Komposition in Blau was
preserved by Academy Film Archive. From the Center for Visual Music,
www.centerforvisualmusic.org
9/1
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
7:30, 220 36th Street, 5th Floor
BIJOU
Bijou: Wakefield Poole, 16mm, 1972, 77 mins. Introduced by Eileen Myles.
I love this movie both because I do love gay male porn, and movies (duh)
and also love the 70s and remember it, but Bijou simply smashes the mold
to bits in terms of genre. It swerves from a near-documentary, realist
mode suddenly into a kind of Russian constructivist passage, to an
action car chase, a little grainy Warhol and falling we find ourselves
in a Frank Wedekind play. Poole's consciousness is massively absorbent.
It's hard to watch Bijou and not think that David Lynch is a Wakefield
Poole fan, especially in Mulholland Drive. Sex is a such a rabbit hole
in this film and we get treated to such a phantasmagoria of groping and
grouping and kaleidoscopic rendering of sex. Plus there's just footage
of a New York that even those who were there have long forgotten. You'll
never want to wear underwear again once you've seen Bijou. I know this
to be true. I watched it this week with a bunch of unconvinced art
colonists of a wide variety of sexualities and art practices and
everyone was transformed and no we actually didn't have an orgy but
underwear sales in this particular demographic have been totally altered
and changed forever. Wakefield Poole is a genius and a sensualist and an
artist of surprising complexity and passion. And levity. Come see this
screening. You'll feel so good. - EM Eileen Myles, named by BUST
magazine "the rock star of modern poetry," is the author of more than
twenty books of poetry and prose, including Chelsea Girls, Cool for You,
Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The
New Fuck You (Semiotext(e), 1995). Myles was head of the writing program
at University of California, San Diego, from 2002 to 2007, and she has
written extensively on art and writing and the cultural scene. Most
recently, she received a fellowship from the Andy Warhol/Creative
Capital Foundation. Tickets - $7, available at door.
9/1
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
12pm, 151 Third Street
PAUL CLIPSON PRESENTS: SUBVERSIVE DOCUMENTARIES
In this program of film shorts, experimental filmmaker (and SFMOMA's own
head projectionist) Clipson screens high-art takes on low subjects.
Among others, Luis Buñuel cast a surreal eye on rural poverty in Spain,
and Alain Resnais documents the lyricism of plastic. Also: Las Hurdes
(aka The Land Without Bread), Luis Buñuel, 1933, 30 min., 16mm, b/w.
Hotel des Invalides, Georges Franju, 1952, 22 min., 35mm, b/w. Le chant
du Styrène, Alain Resnais, 1958, 19 min., 35mm, color, cinemascope.
"Luis Buñuel casts a surreal eye on rural poverty in Spain, Alain
Resnais documents the lyricism of plastic, and Georges Franju upends
nationalism and military glory. The museum would like to thank the
Consulate General of France in San Francisco for its assistance and
support of this program. Museum and program admission are free."
----------------------------
WEDNESDAY, SEPTEMBER 2, 2009
----------------------------
9/2
Brooklyn, New York: ISSUE Project Room
http://issueprojectroom.org/
8:00 P.M., At the Old American Can Factory, 232 3rd Street, 3rd Floor
EXPERIMENTAL NARRATIVE CINEMA BY MEREDITH DRUM AND ALISON WARD
Meredith Drum presents three low-ball sci-fi video works that form a
loose trilogy, "The Tower", "The Formula" and "The Double". The
narratives combine elements from old stories of conflict between
feminine and masculine and interior and exterior loss and fulfillment.
All three were filmed in the same feral park and graced by actress
Juliana Francis Kelly. Alison Ward explores the ideas and motivations
behind her piece the Beastly Beauty in the form of a performance as
slide lecture. She will re-envision her spectacular performance, an
on-going farcical battle that most recently occurred on Coney Island's
beach and boardwalk in late August. The Punch and Judy battle between
two characters embodying different elements of beauty and the grotesque
features elaborate Baroque style costumes, one set adorned with pink
ribbons and lace, the other with garbage bags and filth. Each are backed
by six cheerleaders in armor, who taunt each other with chants that
merge cheerleading rallies with traditional battle cries and King
Kong-style beating of the chest. The battle is comical with each side
flirting and fighting, hitting and kissing, much like two lovers in a
fierce fight. The choreography combines wrestling moves with traditional
dance and burlesque to create a spectacle that is simultaneously
violent, sexual, and humorous. The idea behind The Beastly Beauty, is an
effort to comment through use of physical humor and public performance,
on the nature of violence, and to upend notions of traditional roles of
the masculine and feminine.
9/2
Brooklyn, New York: ISSUE Project Room
8pm, 232 3rd street, 3rd floor
MEREDITH DRUM
Meredith Drum's trilogy of narrative cinema, The Double, The Formula and
The Tower, will screen this coming wednesday night, September 2nd, at
ISSUE Project Room in Brooklyn. The screening will be followed by a
slide lecture as performance by Alison Ward regarding her most recent
spectacle / Punch and Judy battle on Coney Island, Beastly Beauty.
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>.