From: Weekly Listing (email suppressed)
Date: Sat Nov 07 2009 - 13:51:37 PST
Part 1 of 2: This week [November 7 - 15, 2009] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Drift" by Mike Celona
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=401.ann
"Wound Footage" by Thorsten Fleisch
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=399.ann
NEW CALLS FOR ENTRIES:
=====================
Free to Be..US! (Orono, ME, USA; Deadline: November 23, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1090.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1091.ann
Map Open Space at FLEFF 2010 (Ithaca (New York), USA; Deadline: January 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1092.ann
Magmart | video under volcano (Naples, Italy; Deadline: January 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1093.ann
Bicycle Film Festival (New York, NY, United States; Deadline: February 17, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1094.ann
The Lab (San Francisco, CA 94103; Deadline: March 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1095.ann
DEADLINES APPROACHING:
======================
One Minute Challenge (London; Deadline: November 30, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1046.ann
Go Short (Nijmegen, The Netherlands; Deadline: December 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1053.ann
Strange Beauty Film Festival (Durham, North Carolina USA; Deadline: November 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1057.ann
MONO NO AWARE FILM EVENT / @ LUMENHOUSE (Brooklyn, NY, United States; Deadline: November 09, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1062.ann
12th Wisconsin Film Festival (Madison, WI, USA; Deadline: December 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1068.ann
29th Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 27, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1074.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
Beaufort International Film Festival (Beaufort, SC. USA; Deadline: November 15, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1081.ann
Tregor Film Fest (Lannion, Tregor, France; Deadline: November 20, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1082.ann
Experiments in Cinema (Albuquerque, NM, USA; Deadline: December 10, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1083.ann
FRESH: ABSTRACTIONS (Bangkok, Thailand; Deadline: November 07, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1084.ann
The LAB (San Francisco, CA, USA; Deadline: November 21, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1086.ann
Free to Be..US! (Orono, ME, USA; Deadline: November 23, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1090.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1091.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):
==============================
* Videofest [November 7, Dallas, TX]
* Dinorah De Jesus Rodriguez At Sleepless Night [November 7, Miami Beach, FL]
* Stan Brakhage Songs 1-14 [November 7, New York, New York]
* Women's Experimental Cinema Program 3: Ericka Beckman [November 7, New York, New York]
* Women's Experimental Cinema Program 4: Peggy Ahwesh [November 7, New York, New York]
* Other Cinema: Wobbly's History of Sampling + Rip + [November 7, San Francisco, California]
* Videofest [November 8, Dallas, TX]
* Los Angeles Filmforum Presents Film About A Woman Who... By Yvonne
Rainer [November 8, Los Angeles, California]
* Light Matters: Joost Rekveld In Person [November 8, Los Angeles, California]
* Stan Brakhage Program [November 8, New York, New York]
* La vie Noir [November 8, New York, New York]
* Glitch: Investigations Into the New Ecology of the Digital Age [November 9, Chicago, Illinois]
* The Making and Unmaking of Jack Smith's Flaming Creatures [November 9, Los Angeles, California]
* Performa Program 1 [November 9, New York, New York]
* Experiments With Animation [November 9, New York, New York]
* Performa Program 2 [November 9, New York, New York]
* Disordered & Refigured [November 10, Cambridge, Massachusetts]
* 8mm Kuchar Films of the 1960’S:Mike Kuchar In Person [November 10, Reading, Pennsylvania]
* Performa Program 3 [November 11, New York, New York]
* Performa Program 4 [November 11, New York, New York]
* Movement As Meaning [November 11, San Francisco, California]
* Variable Area: Hearing and Seeing Sound, 1966–78 [November 12, Chicago, Illinois]
* Visiting Filmmaker: Marie Losier [November 12, Columbus, Ohio]
* Cooking History - Opening Night 33rd Mead Festival [November 12, New York, New York]
* Performa Program 5 [November 12, New York, New York]
* Happiness Is A Warm Projector Experiments In Cinema Film Festival [November 12, San Francisco, California]
* Beyond the Game [November 13, New York, New York]
* Assassins, Widows, and Funeral Directors, Oh My! [November 13, New York, New York]
* Fig Trees [November 13, New York, New York]
* Gyumri [November 13, New York, New York]
* Mamachas of the Ring [November 13, New York, New York]
* Overlapping Worlds Date Palms / Filmselm / video By Jon Porrassun Circle
/ Films By Paul Clipson [November 13, San Francisco, California]
* Common Ground: Aurora [November 13, UK ]
* Los Angeles As A Character [November 14, Los Angeles, California]
* Immokalee, My Home [November 14, New York, New York]
* Perestroika: Reconstruction of A Flat [November 14, New York, New York]
* How I Am and Speech Memory [November 14, New York, New York]
* Babaji, An Indian Love Story [November 14, New York, New York]
* The Living [November 14, New York, New York]
* Wondrous World of Laundry [November 14, New York, New York]
* Mediamodes [November 14, New York, New York]
* Ventana Al Sur: An Evening of Argentine Experimental Films [November 14, New York, New York]
* J. Kroot's 'it Came From Kuchar,' With George & Mike! + [November 14, San Francisco, California]
* Los Angeles Filmforum Presents D.W. Griffith In California, With Talk By
Tom Gunning [November 15, Los Angeles, California]
* Dj Spooky and the Science of Terra Nova [November 15, New York, New York]
* Blind Loves [November 15, New York, New York]
Events are sorted by CITY within each DATE.
--------------------------
SATURDAY, NOVEMBER 7, 2009
--------------------------
11/7
Dallas, TX: Video Association of Dallas
www.videofest.org
12 p.m., Angelika Film Center, 5321 E. Mockingbird Ln.
VIDEOFEST
Dallas, TX – The 22nd Annual VideoFest will be at the Angelika Film
Center Nov.5-8, 2009. The oldest and largest video and film festival in
the nation, VideoFest shows a diverse range of works by regional,
national and international video and film artists that are hard to find
at the local video store, the movie theater or on Netflix. Because
VideoFest is different than a traditional film festival or just going to
a movie, a designer will be creating a VideoFest set at the Angelika.
Expect something different! For the second year in a row, the VideoFest
will be presented thru I-Tunes.
11/7
Miami Beach, FL: sol island media works
http://www.solislandmediaworks.com
7pm to 7am, 2000 Convention Center Ave.
DINORAH DE JESUS RODRIGUEZ AT SLEEPLESS NIGHT
Dinorah de Jesús Rodriguez will be presenting two moving image
installations entitled "o Amor" and "Ephemera" at the Miami Beach
Botanical Garden to celebrate Sleepless Night on the evening of November
7, 2009 from about 7pm until daybreak the following morning... Working
with hand-crafted found and recycled film footage, Rodriguez
orchestrates transparent realities from fragments of photographs and
films... "O Amor" is a video journey into the subconscious secrets of
the Botanical Garden itself. Filmed at this very site, "o Amor" is a
giant video projection addressing the cycle of bloom and decay in both
the natural environment and the experience of love, looped and screened
outdoors through the main window of the Garden's Administrative
Offices... "Ephemera" consists of miniscule transparent images suspended
from the branches of the Grand Poinciana tree at the entrance to the
Botanical Garden. This 3-D collage will be rendered kinetic by the
natural breezes blowing through the outdoor environment, and the
projection achieved through the use of spotlights at the base of the
tree... Dancers from Momentum Dance Company will perform an interactive
piece in collaboration with this installation, choreographed by Delma
Iles. Performance at midnight.
11/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
STAN BRAKHAGE SONGS 1-14
SONGS 1-14 by Stan Brakhage 1964-65, ca. 53 minutes, 16mm, silent. "SONG
1: Portrait of a lady. SONGS 2 & 3: Fire and a mind's movement in
remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG
5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7:
San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and
substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect,
a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass
traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds,
paints and crystals." –S.B. –Saturday, November 7 at 4:00.
11/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
WOMEN'S EXPERIMENTAL CINEMA PROGRAM 3: ERICKA BECKMAN
ERICKA BECKMAN: PERFORMING THE IMAGE With Vera Dika, Associate Professor
of Film Studies, New Jersey City University. Jack Goldstein BONE CHINA
(1974-78, 2-minute loop, video) Pat O'Neill SAUGUS SERIES (1974, 18.5
minutes, 16mm) Owen Land NEW IMPROVED INSTITUTIONAL QUALITY: IN THE
ENVIRONMENT OF LIQUIDS AND NASALS A PARASITIC VOWEL SOMETIMES DEVELOPS
(1976, 10 minutes, 16mm) Vito Acconci THEME SONG (1973, 15-minute
excerpt, video) Julia Heyward MY BLUE PERIOD (1975, 15-minute excerpt,
video) Ericka Beckman YOU THE BETTER (1983, 20 minutes, 16mm) Ericka
Beckman SWITCH CENTER (2003, 12 minutes, 16mm) Total running time: ca.
95 minutes.
11/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
WOMEN'S EXPERIMENTAL CINEMA PROGRAM 4: PEGGY AHWESH
PEGGY AHWESH: ADVENTURES CLOSE TO HOME Jaime Iglehart TRUE STORY (2008,
15 minutes, video) Patricia Baga THERE IS NO "I" IN TRISHA, SEASON 2,
EPISODE 7 (2005/07, 4 minutes, video) Patricia Baga AB-ORIGINALS (MARY)
(2007/08, 7.5 minutes, video) Otis Turner THE WONDERFUL WIZARD OF OZ
(1910, 13 minutes, video) Marie Losier PAPAL BROKEN-DANCE (2008, 6
minutes, video) Dani Leventhal 54 DAYS THIS WINTER 36 DAYS THIS SPRING
(2009, 18 minutes, video) Peggy Ahwesh THE SCARY MOVIE (1993, 10
minutes, 16mm) Katherine Bauer PSYCHO PUSSY SLAUGHTER (2008, 10 minutes,
video) Total running time: ca. 90 minutes.
11/7
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia St.
OTHER CINEMA: WOBBLY’S HISTORY OF SAMPLING + RIP +
Jon "Wobbly" Leidecker has spliced together an hour-long historical
review of audio pastiche, revisiting the benchmarks of the practice over
the course of the last century. His assiduous survey moves through Ives,
Oliveros, Cage, Buchanan & Goodman, Pierres Henry & Schaeffer, Perrey &
Kingsley, Paik, Reich, Marclay, Oswald, et al. PLUS RiP: A Remix
Manifesto, the world's first open-source documentary about copyright and
Fair Use. Web activist and filmmaker Brett Gaylor explores issues of
intellectual property in the Information Age, mixing up the mediascape
and shattering the wall between users and producers. His doc features
mash-up master and Illegal Art exponent Girl Talk, who blends samples of
existing music into new songs. Engaging interviews with creators,
lawmakers, and consumers are interspersed with animation, collage, and
archival footage in this righteous rave-up. Come early for the brutal
plunderphonics of Muerto Zoke. $7.77.
------------------------
SUNDAY, NOVEMBER 8, 2009
------------------------
11/8
Dallas, TX: Video Association of Dallas
www.videofest.org
10:30 a.m., Angelika Film Center, 5321 E. Mockingbird Ln.
VIDEOFEST
Dallas, TX – The 22nd Annual VideoFest will be at the Angelika Film
Center Nov.5-8, 2009. The oldest and largest video and film festival in
the nation, VideoFest shows a diverse range of works by regional,
national and international video and film artists that are hard to find
at the local video store, the movie theater or on Netflix. Because
VideoFest is different than a traditional film festival or just going to
a movie, a designer will be creating a VideoFest set at the Angelika.
Expect something different! For the second year in a row, the VideoFest
will be presented thru I-Tunes.
11/8
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles CA 90028.
LOS ANGELES FILMFORUM PRESENTS FILM ABOUT A WOMAN WHO... BY YVONNE
RAINER
Los Angeles Filmforum presents Bodies, Objects, Films: An Yvonne Rainer
Retrospective (part 2 of 8). Over the course of our 2009-2010 seasons,
Filmforum is proud to present a full retrospective of the media works of
Yvonne Rainer. Tonight, FILM ABOUT A WOMAN WHO... (1974, 105 mins, b&w,
16mm) Rainer's landmark film is a meditation on ambivalence that plays
with cliché and the conventions of soap opera while telling the story of
a woman whose sexual dissatisfaction masks an enormous anger. (Note:
Rainer will NOT be present at this show.) Los Angeles Filmforum, at the
Egyptian Theatre, 6712 Hollywood Blvd, at Las Palmas, Los Angeles CA
90028. Sunday Nov 8, 2009. 7:30 pm. General admission $10,
students/seniors $6, free for Filmforum members.
http://lafilmforum.wordpress.com. The Egyptian Theatre has a validation
stamp for the Hollywood & Highland complex. Park 4 hours for $2 with
validation.
11/8
Los Angeles, California: UCLA Film and Television Archive
http://www.cinema.ucla.edu
7:00 pm, Billy Wilder Theatre at The Hammer Museum
LIGHT MATTERS: JOOST REKVELD IN PERSON
UCLA Film and Television Archive and Center for Visual Music present the
first West Coast retrospective of films by celebrated Dutch filmmaker
and installation artist Joost Rekveld. Rekveld, who will appear in
person, started making abstract films in 1991 after he invited Bill
Moritz and Elfriede Fischinger to come to the Netherlands to present a
day-long survey of abstract cinema. Almost twenty years later, Rekveld
pursues his fascination with human perception and the history of optics
and perspective with the aim of creating a "music for the eyes." An
important part of his filmmaking is to develop his own tools, often
inspired by the less frequented by-ways in the history of science and
technology. Films featured: #3 (1994), #23.2 Book of Mirrors (2002), #7
(1996), and #11 Marey Moiré (1999). TRT 69 minutes, 35mm/16mm. With
thanks to Celia Mercer/UCLA Animation Workshop. Tickets are $10 online,
$9 general, $8 student and seniors.
11/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:15 pm, 32 2nd Avenue
STAN BRAKHAGE PROGRAM
ess otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT
(1958, 40 minutes, 16mm) CAT'S CRADLE (1959, 6 minutes, 16mm) THE DEAD
(1960, 11 minutes, 16mm) MOTHLIGHT (1963, 4 minutes, 16mm) BLUE MOSES
(1963, 11 minutes, 16mm, sound) PASHT (1965, 5 minutes, 16mm) FIRE OF
WATERS (1965, 10 minutes, 16mm, sound) With ANTICIPATION OF THE NIGHT,
Brakhage leaves psychodrama and enters the "closed-eye vision" period.
This program also contains a unique example of a film made without a
camera, MOTHLIGHT, and one of Brakhage's few sound (and 'acted') films,
BLUE MOSES. Total running time: ca. 90 minutes.
11/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
LA VIE NOIR
BURCKHARDT & BURCKHARDT: LA VIE NOIR by JACOB BURCKHARDT & JIM NEU 2007,
50 minutes, video. Written by Jim Neu; play directed by Keith McDermott;
with Mary Shultz, Black-Eyed Susan, Tony Nunziata, John Costelloe,
Agosto Machado, Chris Maresca, Deborah Auer, and Jim Neu. When eight
strangers find themselves in a high-rise bar during a storm, it seems
like a movie – even to them. That feeling grows as they discover
inter-connections that seem beyond coincidence. As the intrigue
intensifies, so does the storm, and the characters' survival may depend
on the answer to the question, "Are we in it or at it?" During the
theatrical run of LA VIE NOIR at La MaMa, the cast assembled for an
extra performance so that Jacob Burckhardt could film it. Made under
B-movie conditions, with only one long evening to complete the shoot,
the film version captures the cinematic quality of the play in more ways
than one. "Downtown ironist Jim Neu knows that the world of fedoras,
shady ladies and rain-swept sidewalks has been creeping into our
consciousness for decades." –Robert Simonson, TIME OUT NEW YORK & DUET
FOR SPIES 1993, 23 minutes, video. Written by Jim Neu; camera and
editing by Jacob Burckhardt. Two spies meet for a rendezvous over a
crowded city expressway. Their thoughts go back to the key debriefing of
their careers, and they find their separate memories to be strangely
identical. A story of doubt and deniability, a dark post-cold-war comedy
of individual and institutional delusions becoming one and the same. An
adaptation of a play by Jim Neu, it was shot on exotic locations around
the city. Total running time: ca. 75 minutes.
------------------------
MONDAY, NOVEMBER 9, 2009
------------------------
11/9
Chicago, Illinois: School of the Art Institute of Chicago
http://www1.artic.edu/saic/art/filmcntr/
6pm, Flaxman Theater (room MC1307), 112 S. Michigan Ave
GLITCH: INVESTIGATIONS INTO THE NEW ECOLOGY OF THE DIGITAL AGE
"The genre [of glitch] has no recognizable center. No handle. It keeps
moving, shape shifting. It blurs when it's recognized and then only
sharpens for brief periods. It is not a genre so much as a tactic for
subversion that has become a fashion statement." - Kim Cascone Glitch
art is aetheticized and fetishized technological [human] errors or
anticipated accidents that can produce unintended [desired] results. It
functions as a microcosm for new media art, forgrounding a critical
relationship to the digital culture in which we find ourselves mired.
This program initiates a conversation between glitch artists from all
over the world with common concerns. These artists demonstrate the
diversity of ways in which glitch can be used to address pertinent
issues within digital culture, and in culture at large. The artists in
this program take the otherwise irritable and undesirable erroneous
occurrences and malfunctions and embrace them as form. In their
practice, as well as in many of their writings and research, errors and
bugs are reshaped at times into elegant painterly digitalism, at others
into a poetic and essayistic discourse, and often into spastic abrasive
assaults of visual/audible noise. These works critically address issues
of time, deconstruction, memory, and chance with regards to society's
relationship with technology. They attack the media systems that have
been assimilated by popular culture and subvert the slick, sterile, and
seemingly perfect surface of technologies propagated by special
interests. Glitch lends itself to pedagogy as much as it serves as a
ruse to traditional modes of artistic instruction that codify random
acts of creativity. Thus, glitch art is not exclusively technical: the
most basic methods utilized by glitch artists can be easily taught,
learnt and executed. Methods such as datamoshing and wordpad glitching
have opened a potentially democratic space for conceptually and
aesthetically exploring our amorphous identities in our new digital
ecology. As technology exponentially evolves and naturally occurring
'glitches' are being phased out, the natural aesthetics of digital
technology are at risk of obsolescence. A mutual threat is currently
being posed between the new technologies/upgrades which seek to nullify
glitches and the glitches which attempt to expose these
technologies/imposed systems. This program is an attempt to address this
threat and generate dialogue about the critical importance and potential
of glitch. - Nick Briz Artists included: Achim Stromberger, Evan Meaney,
Jimmy Joe Roche, Johnny Rogers, Jon Cates, Jon Satrom, Karl Klomp, Nick
Briz, Nick Salvatore, Rosa Menkman, Takeshi Murata, and Tatjana Marusic.
trt. approx 80 mins
11/9
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St
THE MAKING AND UNMAKING OF JACK SMITH’S FLAMING CREATURES
A Screening and Talk with J. Hoberman Los Angeles revival 1963, 45 min.,
16mm, b/w | Recognized as an unprecedented visionary masterpiece,
Flaming Creatures was also reviled, rioted over, banned as porn, and
pondered by the Supreme Court. "Jack Smith described Flaming Creatures
as 'a comedy set in a haunted movie studio.' It is that, as well as the
single most important and influential underground movie ever released in
America," according to J. Hoberman, film critic of The Village Voice for
more than 30 years and an authority on the Smith performance and film
oeuvre. "Smith's movie was a source of inspiration for artists as
disparate as Andy Warhol, Federico Fellini and John Waters but he never
completed another." Find out why. Hoberman's books include The Dream
Life: Movies, Media and the Mythology of the Sixties and Bridge of
Light: Yiddish Cinema Between Two Worlds. In person: J. Hoberman
Curated by Steve Anker | Jack H. Skirball Series $9 [students $7,
CalArts $5]
11/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
PERFORMA PROGRAM 1
PERFORMA PROGRAM 1 The Futurist Canon Tina Cordero, Guido Martina &
Pippo Oriani SPEED / VELOCITA Italy, 1930, 13 minutes, video, b&w,
silent. One of the only Futurist films still existing, SPEED captures
the dynamics of the city, with rotating views, whistling machines,
articulated mannequins, and homages to 20th-century artists such as
Boccioni, Mondrian, L?ger, and Kandinsky, all rhythmically collaged
together by Futurist painter Oriani in collaboration with Futurist
writers Cordero and Martina. Corrado D'Errico STRAMILANO Italy, 1929, 14
minutes, video, b&w, sound. A vibrant 'city symphony' showing a day in
the life of Milan, from factories to farmers' markets, skyscrapers,
nightclubs, and beyond, with sound effects of human voices and machines.
Although not officially 'Futurist', this film is directly related to
Futurist ideas and works, such as SPEED. Anton Giulio Bragaglia THA?S
Italy, 1917, 54 minutes (incomplete), video, b&w, silent. THA?S is
considered to be the only surviving full-length Futurist film. In it,
the title character plots to seduce her best friend's crush, and the
melodramatic chain of events that ensues leads to a Futuristic final
sequence, shot against the visionary set designs of Futurist painter
Enrico Prampolini. Total running time: ca. 85 minutes.
11/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
EXPERIMENTS WITH ANIMATION
Select Filmmakers in person! Animated films come in all shapes and
sizes. In this program we'll screen a broad spectrum of animated works,
each telling a poignant story using very different media – watercolor,
pencil illustration, paper cut-outs, and even video game footage. What
holds the program together is the filmmakers' ability to convey
authentic human emotions using inanimate objects and forms. Selected
shorts will include THE GUARANTEE (Jesse Epstein, 2007) and REHEARSALS
FOR RETIREMENT (Phil Solomon, 2007), as well as works from up-and-coming
talent. Check our website for updated info: flahertyseminar.org
11/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm , 32 2nd Avenue
PERFORMA PROGRAM 2
Futurist-Related Performance Luca Comerio EXCELSIOR Italy, 1914, 23
minutes, 35mm, b&w, silent. A grand 1881 ballet that celebrates
technology and progress through tableaux saluting turn-of-the-century
technological innovations – electricity, the telegraph, and the Brooklyn
Bridge, among them – EXCELSIOR was made into a film over 30 years later,
as the worldwide interest in Futurism was taking off. Marcel Fabre LOVE
AFOOT / AMOR PEDESTRE Italy, 1914, 10 minutes, 35mm, b&w, silent. The
feet of three people act out an adulterous affair in LOVE AFOOT, the
only filmed record of Futurist 'reductionist performance'. Jacques
Feyder and Gaston Ravel FEET AND HANDS / DES PIEDS ET DES MAINS France,
1915, 18 minutes, video, b&w, silent. A mechanical ballet of feet and
hands influenced by Futurist ideas. Claude Autant-Lara A COLLECTION OF
FACTS / FAIT-DIVERS France, 1923, 20 minutes, video, b&w, silent.
Surrealistic short made early in the career of Autant-Lara, who would
later become one of the French 'directors of quality' attacked by the
New Wave filmmakers, in which a trio of actors (including Antonin
Artaud!) jealously confront one another, set to an avant-garde score by
Arthur Honegger and others. Total running time: ca. 75 minutes.
--------------------------
TUESDAY, NOVEMBER 10, 2009
--------------------------
11/10
Cambridge, Massachusetts: Balagan Experimental Film/Video Series
http://www.coolidge.org/balagan/
7:30PM, 24 Quincy St. Cambridge, MA 02138 (ROOM B04)
DISORDERED & REFIGURED
Balagan is excited to present a program of innovative works that explore
the delicate and complex nature of the human body, mind and spirit.
Films in this program probe issues of physical & mental illness in our
society, using provocative formal strategies that strive towards making
sense of the trials and tribulations of these remarkable individuals.
Premiere screenings of Films include "Fwd: Update on My Life" directed
by Nicky Tavares, "Estranhos Poemas: Escritos de Claudina Pereira"
Directed by Jessica Gidal, and "Itna Mujhe Pata Hai" (This Much I Know)
Directed by: Bridget Hanna.
11/10
Reading, Pennsylvania: Berks Filmmakers, Inc
www.berksfilmmakers.org
7:30 pm, Albright College
8MM KUCHAR FILMS OF THE 1960’S:MIKE KUCHAR IN PERSON
MIKE KUCHAR (San Francisco) will be screening some of his most recent
mini-dv productions and will be introducing the last of the now
legendary early Kuchar brothers 8mm films that Berks has been exploring
in recent seasons. Tootsies in Autumn (1963, 15 minutes, 8mm-to-16mm
blow-up, sound on CD.) Like George's later, better known, Hold me while
I'm Naked (1965), Tootsies is a film-within-a-film, the caustic tale of
a deranged director's cruelty to an actress past her prime; Lust for
Ecstasy: A Drama of Obsessions in the Language of Sensationalism (1963,
52 minutes, 8mm-to-16mm blow-up, sound on CD). Featuring Donna Kerness,
Bob Cowan, Mike Kuchar, Cynthia Mailman, George Kuchar and Larry
Leibowitz. "…I wrote many of the pungent scenes on the D train, and when
I arrived on the set I ripped them up and let my emotional whims make
chopped meat out of the performances and the story...Yes, Lust for
Ecstasy is my subconscious, my own naked lusts that sweep across the
screen in 8mm and color with full fidelity sound." – G.K.; Lovers of
Eternity (1964, 36 minutes, 8mm-to-16mm blow-up, sound on CD.) Featuring
Mary Flanagan, Dov Lederberg and Jack Smith. The last 8mm Kuchar
production is an all-too-tragic tale in which we find underground icon
Jack Smith, experimental filmmaker Dov Lederberg and one giant cockroach
stealing the show from one another in a creepy parable about Downtown
excess. (The early films of George and Mike Kuchar were preserved by
Anthology Film Archives with support from the National Film Preservation
Foundation.)
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WEDNESDAY, NOVEMBER 11, 2009
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11/11
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
PERFORMA PROGRAM 3
Man and Machine Eugene Deslaw MARCH OF THE MACHINES / LA MARCHE DES
MACHINES France, 1929, 9 minutes, 16mm, b&w, silent. With live
performance by Luciano Chessa on November 11! An abstract mechanical
symphony with a score originally written by Futurist artist Luigi
Russolo and now lost, this film will be shown with a special live
soundtrack by composer and Russolo expert Luciano Chessa (Nov. 11
screening only). Taking Deslaw's notes about the process of synching
music to images developed by Russolo for this film into consideration,
Chessa's original score will be performed with his reconstructions of
the incredible intonaromuri, or Futurist noise-intoners. Francesco Di
Cocco THE GUT OF THE CITY / IL VENTRE DELLA CITTÀ Italy, 1932, 13
minutes, 35mm, b&w, sound. A poetic, experimental, industrial
documentary. André Deed THE MECHANICAL MAN / L'UOMO MECCANICO Italy,
1921, 46 minutes (incomplete), 35mm, b&w, silent. A colossal robot runs
wild in an unstoppable crime spree in this rare fantasy-horror epic by
André Deed, protégé of George Méliès, that culminates in a wild showdown
between the evil robot and another mechanical marvel. Total running
time: ca. 70 minutes.
11/11
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
PERFORMA PROGRAM 4
Trains, Trains, Trains Corrado D'Errico IMPRESSIONS OF LIFE #1: RAILWAY
STATION RHYTHMS / RITMI DI STAZIONE, IMPRESSIONI DI VITA N. 1 Italy,
1933, 10 minutes, video, b&w, silent. Gorgeous documentary depicting a
day in the 'iron world' – a railway station – by intermingling the
repetitive motions of machines with the mechanisms of human behavior.
Henri Chomette PLAY OF REFLECTIONS AND SPEED / JEUX DES REFLETS ET DE LA
VITESSE France, 1925, 6 minutes, 16mm, b&w, silent. A beautiful montage
of sped-up shots taken from moving trains and boats, highlighting the
play of light and motion through superimpositions, upside-down
camerawork, and other experimental techniques, made by Chomette, brother
of René Clair and a leader of the French 'pure cinema' movement. Willy
Otto Zielke THE STEEL BEAST / DAS STAHLTIER Germany, 1935, 75 minutes,
16mm, b&w, sound. Daring collage of rhythms, abstractions,
superimpositions, and wild shots of the railroad and other machines,
made by the great German photographer Zielke, that was originally
commissioned to celebrate the centennial of the Nuremburg-Furth railroad
line, and later banned by the Third Reich for "decadent aesthetics."
Total running time: ca. 95 minutes.
11/11
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, California College of the Arts -- 1111 Eighth Street (between Hooper and Irwin)
MOVEMENT AS MEANING
Curated and presented by Daniel Barnett -- [members: $5 / non-members:
$10/ CCA students & faculty: free] ----- The films of Daniel Barnett are
among the most complex (and least understood) works in all of cinema.
Taking Peter Kubelka's aesthetics of shot-to-shot/frame-to-frame
collision and articulation to elegant extremes, works such as 1975's
White Heart and 1987-90's Endless embody profound expressions of visual
language that remain regretfully outside the genre's assimilated canon.
With the publication of his Movement as Meaning: In Experimental Film
(Editions Rodopi, Amsterdam/N.Y., Consciousness, Literature & the Arts),
Barnett articulates in words the aesthetic that has long been at the
heart of his filmmaking practice, discussing the relationships between
narrative language, image making and the relationships of motion and
sequence to thought while pondering the possibility of "thinking without
words." Following a brief introduction by Barnett on these topics, four
works discussed in the book and central to his theses will be screened:
Stan Brakhage's "Fire of Waters", A. Keewatin Dewdney's "The Maltese
Cross Movement", Saul Levine's "The Big Stick/An Old Reel" and Barnett's
own "The Chinese Typewriter."
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THURSDAY, NOVEMBER 12, 2009
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11/12
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, 164 N. State St
VARIABLE AREA: HEARING AND SEEING SOUND, 1966–78
Live performance! Guests in person! Experimental Sound Studio's Outer
Ear Festival of Sound and CATE team up once again to present films that
investigate the visual and aural possibilities of 16mm optical audio, as
sounds perform images and images become sonic scores. Including works by
Peter Kubelka, Chris Langdon, Robert Russett, Paul Sharits, Barry
Spinello, and a live accompaniment by musicians Art Lange, Guillermo
Gregorio, and Brian Labycz to Richard Lerman's Sections for Screen,
Performers and Audience (1974), this program examines the relationship
of avant-garde cinema to avant-garde music. Curated by SAIC faculty
member Michelle Puetz in collaboration with Experimental Sound Studio
founder and director Lou Mallozzi. Co-presented by Experimental Sound
Studio. The Outer Ear Festival of Sound (November 3–22, 2009) is the
only comprehensive interdisciplinary sonic arts festival in the Midwest.
Visit: www.exsost.org. 1966–78, various artists, USA, multiple formats,
ca. 65 min.
11/12
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
7 pm, 1871 N. High St.
VISITING FILMMAKER: MARIE LOSIER
"Marie Losier is the most effervescent and psychologically accurate
portrait artist working in film today. Her films wriggle with the energy
and sweetness of a broken barrel full o' sugar worms!!!!" - Guy Maddin.
Marie Losier has an affinity for film history and influences ranging
from Guy Maddin's baroque riffs on cinema's past to George and Mike
Kuchar's low-fi aesthetics, along with a long list of other perpetrators
of general artistic mayhem. Born in France and based in New York, the
filmmaker has screened her work at festivals and venues all over the
world, including the 2006 Whitney Biennial. Tonight, she presents such
recent films as Tony Conrad DreaMinimalist (2008) and Snow Beard (2008)
with Mike Kuchar. (app. 120 mins., film and video)
11/12
New York, New York: Margaret Mead Film & Video Festival, American Museum of Natural History
http://www.amnh.org/programs/mead/2009/
7pm, 77th Street between Central Park West and Columbus Avenue
COOKING HISTORY - OPENING NIGHT 33RD MEAD FESTIVAL
What keeps the armies of the world going? Tanks, submarines, airplanes,
bullets, bombs? Actually, bread. Bread and blinis and sausage and coq au
vin, even "monkey meat" rations. As one cook puts it, without food, the
army would be in a shambles. Taking a tour of 20th century battlefields,
Peter Kerekes revisits its mess halls and field kitchens, asking the
cooks to recreate the meals they served at the front. One Russian woman
prepares blinis she once made for the soldiers fighting off the Germans
outside Leningrad. Another hunts mushrooms in a Czechoslovakian forest.
Hungarians slaughter a pig for kolbasz. A German sings a fight song
while baking black bread for the soldiers who just took Poland. A French
conscientious objector chases a cockerel for his dinner. Reliving the
battles while they prepare the food, the cooks are proud of their roles
in serving their countries yet remain haunted by the suffering. Using
humor, poignancy, and reserve, Kerekes elevates the much-maligned
documentary technique of reenactment while subtly making his point that
if the armies of the world were indeed in a shambles, there might not be
any wars. FILMMAKER IN PERSON
11/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
PERFORMA PROGRAM 5
The Futurist Impulse After Futurism Curated by Robert Haller
(Anthology). The Futurist movement celebrated the changes wrought by
early-20th-century technology: the cyclical energy of the machine, the
new city, speed in trains and the automobile, the radiotelegraph, the
dematerialization of the body and the erotic, and the transformations of
space and time. By the end of the 1920s the Italian Futurist movement
faded, but its recognition that a new phase of experience had arrived in
the "acceleration of life" (Marinetti) was widely assimilated. This
program presents films that were not made from an overtly Futurist
sensibility, but which nonetheless acknowledge the revolution announced
in Italy in the first years of the 20th century. While most of the
Futurist films of the teens and twenties were lost or destroyed in World
War II, the Futurist impulse has thrived. –R.H. Henri Chomette PLAY OF
REFLECTIONS AND SPEED / JEUX DES REFLETS ET DE LA VITESSE (1925, 6
minutes, 16mm, b&w, silent) Ralph Steiner MECHANICAL PRINCIPLES (1931,
11 minutes, 35mm, b&w, silent) Wheaton Galentine TREADLE AND BOBBIN
(1954, 8 minutes, 16mm, color, sound) Francis Thompson N.Y., N.Y. (1957,
15 minutes, 35mm, color, sound) Hilary Harris HIGHWAY (1958, 5 minutes,
16mm, b&w, sound) Paul Sharits DECLARATIVE MODE (1976, 20 minutes, 16mm,
color, silent) Bruce Elder SWEET LOVE REMEMBERED (1980, 13 minutes,
16mm, color, sound) Amy Greenfield WILDFIRE (2003, 11 minutes, 35mm,
color, sound) Total running time: ca. 95 minutes.
11/12
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm. $6, 992 Valencia St. at 21st
HAPPINESS IS A WARM PROJECTOR EXPERIMENTS IN CINEMA FILM FESTIVAL
Experiments in Cinema film festival (a Basement Films production - now
in it's 5th year) is designed to bring the international community of
cinematic experimentalists to New Mexico and to expand our statewide
conversation about movie making to include alternative cinematic
histories. That is, As New Mexico imagines it's future as a new media
center, it is our civic responsibility as media makers, educators and
movie fans to actively participate in, and help direct this sometimes
anemic regional dialogue about all things cinematic. To this end it is
the mission of Basement Films and Experiments in Cinema to nurture the
next generation of movie makers and media theorists top become informed
citizens of the world. Basement Films travels to ATA to screen an
international selection of un-dependent cinema from the first 4 years of
Experiments in Cinema. This 75 minute program will feature contemporary
experimental, underground and un-dependent films from Germany, Japan,
Canada, Russia, Panama, China, South Korea, Spain, and, although no one
is truly sure why, Texas!Presented by Artistic director Bryan Konefsky
(continued in next email)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.