From: Weekly Listing (email suppressed)
Date: Sat Feb 13 2010 - 11:03:45 PST
Part 2 of 2: This week [February 13 - 21, 2010] in avant garde cinema
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SATURDAY, FEBRUARY 20, 2010
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2/20
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
18:00 - open end, Meinblau e.V. | Pfefferberg | Christinenstr. 18/19 | D-10119 Berlin
DIRECTORS LOUNGE 2010 MEDIA ART FESTIVAL
Berlin's art and media flâneurs lounge in a new art space at
Pfefferberg, Berlin. *^^* From 12 through 21 February 2010, daily from 6
pm with open end. *^^* As in the past years, for eleven days artist
curators from around the world present their selected programs. There is
a multitude of highlights to be discovered, special programs, music
programs, and of course, you will find a relaxed lounge ambience during
the days of film vibes in Berlin. Here, you will meet filmmakers and
artists in person. And without stressing for tickets, you will always
find something special, apart from the ordinary or marvellous. *^^* The
daily screenings from 6pm through late night – which will be announced
just in time, as it has been a festival tradition – will serve best eye-
and ear candies for the spontaneous film flâneurs as much as for the
connoisseurs of experimental delicatessen.
2/20
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
8pm, 177 Livingston Street
IMPOSSIBLE GEOMETRIES
The evening will begin at 8pm with readings by Ed Park and Lynne
Tillman. Next, there will be a rare stateside presentation of Lis
Rhodes's Light Music (1975, pictured above). Rhodes's double projection
is a seminal exploration of 16mm optical sound—the on-screen abstraction
is "read" by the projector as audio—and a stone-cold classic of British
expanded cinema. The "Anti-Matter Cabaret" of Ambergris and a set by the
pop ensemble Skeletons will follow, as will DJ sets by Josh Kline and
Gary Murphy & Tim Lokiec.
2/20
Gainesville, Florida: FLEX: The Florida Experimental Film/Video Festival
www.flexfest.org
7 p.m./9 p.m., The Top Secret Space (22 N. Main Street)
FLEXFEST 2010
FLEXfest 2010, our biennial invitational event, opens with a pair of
screenings featuring Jacqueline Goss in person. Goss will present a
program of her work at 7 p.m. including "How to Fix the World" (2004),
"Stranger Comes to Town" (2007), and "There There Square" (2002)
followed by a program of her influences at 9 p.m. including works by
Winsor McCay, Dziga Vertov, Jenny Perlin, Owen Land/George Landow, Phil
Solomon, and others.
2/20
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street
4TH ANNUAL ATA FILM AND VIDEO FESTIVAL
Artists' Television Access (ATA), based in San Francisco, is a
non-profit, artist-run, experimental media arts gallery that has been
in operation since 1984. ATA hosts a series of film and video
screenings, exhibitions and performances by emerging and established
artists and a weekly cable access television program. A Selection of
works from the Festival: BREATHE (5.5 min.-2009) by SAM BARNETT, UP AND
ABOUT AGAIN (10 min.-2009) by NAARIT SUOMI-VAANANEN (Finland), PASSAGE
BRIARE (3 min.-2009) by FRIEDL VON GROLLER (Germany), PATROLLING THE
ETHER (7 min.-2009) by CARL DIEHL, ELRO (4 min.-2009) by ARIEL DIAZ,
SPECTROLOGY (11 min.-2009) by KERRY LAITALA, A POEM TO BE READ INTO A
FLASHLIGHT WITH A MICROPHONE PLACED ABOVE THE BREAST OF A PREGNANT
MOTHER (3 min.-2009) by TOMMY BECKER, TO BE REGAINED (10 min.-2009) by
ZACH IANNAZZI, THE ACROBAT (6 min.-2007) by CHRIS KENNEDY (Canada/ USA),
DESTINATION FINALE ( 9 min.-2008) by PHILLIP WIDMANN (Germany), MY TEARS
ARE DRY (4 min.-2009) by LAIDA LERTXUNDI (Spain/ USA), MYTH LABS (7.5
min.-2008) by MARTHA COLBURN (Netherlands/ USA).
2/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: INTOLERANCE
by D.W. Griffith 1916, 170 minutes, 35mm, b&w, silent. Griffith's
immensely influential silent epic intercuts four parallel tales from
history (spanning Babylon, Christ's Judea, Reformation Europe, and
turn-of-the-century America) to embroider a moral tapestry on personal,
social, and political repression through the ages. The visual poetry is
overwhelming, especially in the massed crowd scenes, and the unbridled
eroticism of the Babylon harem scenes demonstrates just what Hollywood
lost when it later bowed to the Hayes code. While the (partly
self-financed) production ruined Griffith financially and baffled
audiences with its multiple plots and labyrinthine structure, it has
been enormously influential on generations of filmmakers, including
Eisenstein, who studied the film closely.
2/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
50 YEARS OF THE OTHER SPANISH CINEMA PROGRAM 3
PROGRAM 3: ANIMATED EXPERIMENTS: RHYTHM, LIGHT, AND COLOR The films in
this fantastic program span very different periods in the history of
Spanish cinema, but all represent experiments in animation. The
techniques utilized are strikingly diverse, including cameraless cinema,
stop-motion, collage, and sand-on-glass animation. Josep Mestres FORMA,
COLOR Y RITMO (1956, 5 minutes, 35mm) Ferm? Marim?n BALLET BURL?N (1959,
6.5 minutes, 35mm) Joaquim Puigvert EXP. I / II (1958-59, 3 minutes,
35mm) Bego?a Vicario PREGUNTA POR M? (1996, 4 minutes, 35mm) Ton Sirera
PINTURA 63 (1963, 5.5 minutes, 35mm) Izebene O?ederra HEZURBELTZAK, UNA
FOSA COM?N (2007, 5 minutes, 35mm) Jordi Artigas RITMES CROM?TICS (1978,
5 minutes, 35mm) Isabel Herguera SPAIN LOVES YOU (1988, 5.5 minutes,
35mm) Javier Aguirre ESPECTRO SIETE (1970, 8.5 minutes, 35mm) Eugenio
Granell LLUVIA (1961, 2 minutes, video) Marcel Pi? Barba LA 72.024
MIL'L?SSIMA PART D'UN ANY (2008, 5 minutes, video) Frederic Amat DANSE
NOIRE (2006, 3.5 minutes, video) Juan Pablo Etcheverry MONOS (1997, 1.5
minutes, video) Total running time: ca. 70 minutes.
2/20
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
50 YEARS OF THE OTHER SPANISH CINEMA PROGRAM 4
PROGRAM 4: PAINTING / MOVEMENT by José Antonio Sistiaga …ere erera
baleibu izik subua aruaren… 1968-70, 70 minutes, 35mm. "...ere erera
baleibu izik subua aruaren...", a set of words without any meaning,
forms the title of the first and only feature film in the history of
Spanish cinema made entirely by hand-painting directly on celluloid.
Created over 17 months, without any figurative elements or soundtrack,
the result is an astonishing masterpiece of abstract cinema.
2/20
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia
OTHER CINEMA, SAT. 2/20: DAMON PACKARD’S NAUSICAA + MU DVD LAUNCH +
Danger, Danger! In the flesh, all of it, the legendary Damon Packard
descends upon our Bay Area idyll with a shopping cart full of both old
and new works! The Bay Area premiere of his half-hour Nausicaa: Tales of
the Valley of the Wind composes an experimental love-letter to the
spiritual world of Hayao Miyazaki, refiguring the anime into lush
live-action scenes with period costumes, horses, swordplay, and,
er…puppets. PLUS a choice selection of his other rarely-seen shorts,
Including Blade Runner II and Roller Boogie III. Damon will additionally
christen (with complimentary champagne for all!) the launch of the DVD
edition of his tour-de-force performance in Craig Baldwin's Mock Up on
Mu, unspooling his favorite chapter and a behind-the-scenes glimpse
that's part of the disc. Co-star Kal Spelletich is also on hand with his
dynamic dueling robot, whilst keyboardist Doug Katelus works between the
gallery's kinetic-art fracas and the big-screen 16mm imagery of another
Japanese folk-meme, Gamera, the Flying Turtle. *$6.66.
2/20
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
3:00pm, Victoria Theatre, 2961 16th St. (near Mission St.), San Francisco, CA 94103
APPARENT MOTION: PROGRAM I
presented in association with the Illuminated Corridor: Apparent Motion
celebrates the art of live image projection—the cinematic exhibition
apparatus exposed as a primal light and sound machine, an invention
without a future, ripe for rediscovery. Working with modified or
distressed film projectors as if they were musical instruments or with
live manipulation (even mutilation) of projected film (or even directly
with the exalted beam of light itself), the artists presented over this
weekend fuse image and sound into profound site-specific (yet cinematic)
experiences—dazzling light works suggesting a paradoxically concrete
form of sound/image synesthesia. Sandra Gibson & Luis Recoder [New York
City, USA] (headliner) CinePimps (Alfonso Alvarez & Keith Arnold)
[Berkeley, USA] Abject Leader (Sally Golding & Joel Stern) [Brisbane,
Australia] TICKETS: members: $5 / non-members: $10 Advanced tickets can
be purchased at http://www.sfcinematheque.org
2/20
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
8:00pm, Victoria Theatre, 2961 16th St. (near Mission St.), San Francisco, CA 94103
APPARENT MOTION: PROGRAM II
presented in association with the Illuminated Corridor: Apparent Motion
celebrates the art of live image projection—the cinematic exhibition
apparatus exposed as a primal light and sound machine, an invention
without a future, ripe for rediscovery. Working with modified or
distressed film projectors as if they were musical instruments or with
live manipulation (even mutilation) of projected film (or even directly
with the exalted beam of light itself), the artists presented over this
weekend fuse image and sound into profound site-specific (yet cinematic)
experiences—dazzling light works suggesting a paradoxically concrete
form of sound/image synesthesia. Bruce McClure [Brooklyn, USA]
(headliner) Paul Clipson & Tarantel [San Francisco, USA] Karl Lemieux &
Hyena Hive [Montreal, Canada] TICKETS: members: $5 / non-members: $10
Advanced tickets can be purchased at http://www.sfcinematheque.org
2/20
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
9:15 PM, Jackman Hall (317 Dundas St. W- McCaul St entrance)
JEAN-LUC GODARD'S ÉLOGE DE L’AMOUR
Surely one of the great films of the new century, Éloge de l'amour is
pantheon Godard. Godard returns to Paris after years of shooting in
Switzerland and elsewhere; Éloge has a nouvelle vague luxuriance of
nocturnal Parisian street scenes. The story of Edgar, who is struggling
to produce a work (a film? a cantata?) about the French Resistance and
Simone Weil, Éloge de l'amour splits itself between two time periods,
two connected stories, and two contrasting visual approaches. The first
half, shot in lustrous, neo-nitrate black and white, turns Paris into
the capital of melancholy; its monuments, luminous and august, are
postcard icons, seeming to mock the very notion of memory. In the second
half of the film, the natural world, here evoked by the Brittany coast,
which has consistently offered respite or even succour in the
"transcendental" films of Godard's late career, is rendered as a video
conflagration of sulphurous oranges, toxic blues, and pestilential
yellows. Godard's nasty wit is apparent, particularly in an attack on
Spielberg and American cultural imperialism, but his mourning for a lost
culture (stolen paintings, the films of Bresson) and for a time of
political heroism, turns Éloge into elegy. In its brooding on the
passage through life, on memory (and its impossibility), and on the
impotence of art, Godard's masterpiece has the sad, unnerving quality of
a farewell note. "A major work by one of cinema's greatest living
directors . . . Éloge de l'amour suggests that Godard is still very much
a part of cinema's future" (Adrian Wood).
2/20
Washington, DC: National Gallery of Art
http://www.nga.gov
2pm, 4th & Constitution Avenue NW
PELESHIAN: THE BEGINNING FOLLOWED BY WE, THE INHABITANTS, AND LIFE
The Beginning followed by We, The Inhabitants, and Life. Peleshian's
thought-provoking deliberation on the 1917 October Revolution, The
Beginning (1967) is followed by We (1969), a perceptive portrait on
Armenian identity and fate; The Inhabitants (1970), a musing on the
relationships of living things who inhabit the earth; and Life (1993), a
visual essay on the experience of human birth. (Total running time 60
minutes). Artavazd Peleshian, Armenia's distinguished cinematic poet, is
rooted in the history of his homeland yet universal in his reach. During
a long career that began in the Soviet period, Peleshian—who developed
his own distinctive style for assembling and scoring his material—has
crafted a body of iconic cinematic short essays that study the spiritual
aspects of nature, history, and human life. Similar to his friend Sergei
Paradjanov, Peleshian (b. 1938)—"a master of montage and true descendant
of Vertov and Eisenstein" (Pacific Film Archive)—is a national treasure
in Armenia and unlike any other filmmaker.
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SUNDAY, FEBRUARY 21, 2010
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2/21
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
18:00 - open end, Meinblau e.V. | Pfefferberg | Christinenstr. 18/19 | D-10119 Berlin
DIRECTORS LOUNGE 2010 MEDIA ART FESTIVAL
Berlin's art and media flâneurs lounge in a new art space at
Pfefferberg, Berlin. *^^* From 12 through 21 February 2010, daily from 6
pm with open end. *^^* As in the past years, for eleven days artist
curators from around the world present their selected programs. There is
a multitude of highlights to be discovered, special programs, music
programs, and of course, you will find a relaxed lounge ambience during
the days of film vibes in Berlin. Here, you will meet filmmakers and
artists in person. And without stressing for tickets, you will always
find something special, apart from the ordinary or marvellous. *^^* The
daily screenings from 6pm through late night – which will be announced
just in time, as it has been a festival tradition – will serve best eye-
and ear candies for the spontaneous film flâneurs as much as for the
connoisseurs of experimental delicatessen.
2/21
Gainesville, Florida: FLEX: The Florida Experimental Film/Video Festival
www.flexfest.org
7 p.m./9 p.m., The Harn Museum of Art
FLEXFEST 2010
FLEX's biennial invitational continues with a pair of screenings with
Helga Fanderl in person. At 7 p.m. Fanderl will present a program of 22
of her super 8 films made between 1991 and 2009 followed at 9 p.m. by
her influences program featuring films by Peter Hutton, Robert Breer,
Joseph Cornell, Gregory Markopoulos, Stan Brakhage, Noll Brinckmann,
Peter Kubelka, and Robert Beavers.
2/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
LOS ANGELES FILMFORUM PRESENTS TRIO A AND LIVES OF PERFORMERS WITH YVONNE
RAINER IN PERSON
Los Angeles Filmforum presents TRIO A and LIVES OF PERFORMERS with
Yvonne Rainer in person in discussion with Francesca Penzani Part 6 (of
8) of Bodies, Objects, Films: An Yvonne Rainer Retrospective At the
Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles Over
the course of our 2009-2010 seasons, Filmforum is proud to present a
full retrospective of the media works of Yvonne Rainer. One of the most
significant artists in dance and film of the last fifty years, this is
the first full retrospective of her films in Los Angeles. Each
appearance by Rainer will feature a Q&A led by a different moderator, to
discuss with her varying aspects of her approaches to her art and life.
Tonight's Q&A will be led by Francesca Penzani, choreographer, dancer
and professor at Cal Arts. Admission $10 general, $6 students/seniors,
free for Filmforum members Advance ticket purchase available through
Brown Paper Tickets: http://www.brownpapertickets.com/event/95590 TRIO A
(1978, 10:30, video) LIVES OF PERFORMERS (1972, 90 min, 16mm, b&w)
2/21
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JEROME HILL
Brand-new 35mm prints; preservation undertaken by the Museum of Modern
Art. DEATH IN THE FORENOON (1934/66, 2 minutes, 35mm, color) CANARIES
(1969, 4 minutes, 35mm, color) & FILM PORTRAIT 1971, 81 minutes, 35mm,
color. A pioneering work in autobiographical cinema; masterfully
combines actual and staged footage and painting over images. Filmmaker,
painter, and composer Jerome Hill was descended from the famous
railroad-building family and lived on the same street with F. Scott
Fitzgerald. Here he re-creates wonderfully – with old family footage –
the period and milieu of the American upper class at the beginning of
this century.
2/21
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
50 YEARS OF THE OTHER SPANISH CINEMA PROGRAM 5
PROGRAM 5: INVESTIGATIONS / METACINEMA Program 5 attempts to identify
the essence of cinema – whether by explicitly reflecting on the nature
of the medium through meta-cinematographic essays, or by reducing the
film to a blank screen – and to explore the relationship between cinema
and other art forms (from dance and performance to photography and
poetry). Blanca Casas Brullet BLANC D?RANG? (2008, 5.5 minutes, video)
El?as Le?n Siminiani L?MITES (1? PERSONA) (2009, 8 minutes, video) Lluis
Rivera TRAVELLING (1972, 12 minutes, video) Isaki Lacuesta TEOR?A DE LOS
CUERPOS (2004, 5 minutes, video) Gonzalo de Pedro FIGURA (2007, 2.5
minutes, video) Jorge Cosmen IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI
(2003, 9 minutes, video) Carles Dur?n BiBiCi STORY (1969, 8 minutes,
35mm) Laida Lertxundi FARCE SENSATIONELLE! (2004, 3 minutes, 35mm) Joan
Marim?n y Jes?s Ramos IN CRESCENDO (2001, 6.5 minutes, 35mm) Antoni
Padr?s ICE CREAM (1970, 8.5 minutes, 35mm) Carles Santos LA RE MI LA…
(1979, 9 minutes, 35mm) Total running time: ca. 85 minutes.
2/21
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
50 YEARS OF THE OTHER SPANISH CINEMA PROGRAM 6
PROGRAM 6: ENRAPTURED by Iván Zulueta ARREBATO 1980, 105 minutes, 35mm.
In Spanish with English subtitles. The series closes with Iv?n Zulueta's
masterpiece, a cult film in Spanish cinema. Zulueta here utilizes many
of the techniques he previously developed in such short films as A MAL
GAM A, FRANK STEIN, and KINK?N, bringing together many of his life-long
obsessions. A hypnotic, mystical film, open to multiple interpretations,
ARREBATO has been unfairly overlooked outside Spain.
2/21
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
1:00pm, Victoria Theatre, 2961 16th St. (near Mission St.), San Francisco, CA 94103
APPARENT MOTION: PROGRAM III
presented in association with the Illuminated Corridor: Apparent Motion
celebrates the art of live image projection—the cinematic exhibition
apparatus exposed as a primal light and sound machine, an invention
without a future, ripe for rediscovery. Working with modified or
distressed film projectors as if they were musical instruments or with
live manipulation (even mutilation) of projected film (or even directly
with the exalted beam of light itself), the artists presented over this
weekend fuse image and sound into profound site-specific (yet cinematic)
experiences—dazzling light works suggesting a paradoxically concrete
form of sound/image synesthesia. Karl Lemieux & Hyena Hive [Montreal,
Canada] (headliner) Keith Evans [Oakland, USA] Sandra Gibson & Luis
Recoder [New York City, USA] TICKETS: members: $5 / non-members: $10
Advanced tickets can be purchased at http://www.sfcinematheque.org
2/21
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
6:00pm, Victoria Theatre, 2961 16th St. (near Mission St.), San Francisco, CA 94103
APPARENT MOTION: PROGRAM IV
presented in association with the Illuminated Corridor: Apparent Motion
celebrates the art of live image projection—the cinematic exhibition
apparatus exposed as a primal light and sound machine, an invention
without a future, ripe for rediscovery. Working with modified or
distressed film projectors as if they were musical instruments or with
live manipulation (even mutilation) of projected film (or even directly
with the exalted beam of light itself), the artists presented over this
weekend fuse image and sound into profound site-specific (yet cinematic)
experiences—dazzling light works suggesting a paradoxically concrete
form of sound/image synesthesia. Abject Leader (Sally Golding & Joel
Stern) [Brisbane, Australia] (headliner) Kerry Laitala [San Francisco,
USA] & Michael Proft [San Diego, USA] Bruce McClure [Brooklyn, USA]
TICKETS: members: $5 / non-members: $10 Advanced tickets can be
purchased at http://www.sfcinematheque.org.
2/21
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
7:00 PM, Jackman Hall (317 Dundas St. W- McCaul St entrance)
ALEXANDER SOKUROV 'S RUSSIAN ARK
"Has to be seen to be believed. Russian Ark's mind-boggling choreography
is matched by its philosophical grace notes. It's a heady and glorious
experience" (J. Hoberman, Village Voice). A triumph for Russian master
Alexander Sokurov, Russian Ark is part aesthetic miracle, part
logistical feat, and part bravura display. Shot in a single long,
unedited take, the film traverses dozens of rooms in the Hermitage
Museum in St. Petersburg—the "ark of the Russian soul," according to
Sokurov, and an intricately organized space that has been traditionally
off-limits for shooting movies. Traveling a circuitous route of 1,500
metres of stairways, galleries, runabouts, and courtyards full of snow,
the film covers four centuries of Russian history with an unseen
narrator (Sokurov himself) and is populated with almost a thousand
actors and an army of costumed extras. Accompanied by the supercilious
nineteenth-century French diplomat the Marquis de Custine, who was to
Russia what Tocqueville was to America, an outsider remarking on the
country's triumphs and (more markedly) failures, the camera wends its
way through the palace's vast labyrinth, encountering assorted courtiers
and commentators, the entourages of both Peter and Catherine (the
Greats), the Tsar Nicholas and Alexandra and their family. It ends in a
great Viscontian gala, the Royal Ball of 1913, in which the camera
cranes and swoops over elaborate pageantry before miraculously
descending a grand staircase with a tidal wave of costumed aristocrats,
unaware of the imminent Bolshevik Revolution. The film that began in
pitch darkness with the narrator intoning, "I open my eyes, I see
nothing," moves from blindness to ravening and finally exhausted sight.
2/21
Washington, DC: National Gallery of Art
http://www.nga.gov
4pm, 4th & Constitution Avenue NW
PELESHIAN: THE SEASONS FOLLOWED BY OUR CENTURY AND THE END
The Seasons followed by Our Century and The End. East Building
Concourse, Auditorium. The Seasons (1975), an unusual essay on the
ironies and harmonies of man and nature expressed through shepherds
working in the Armenian highlands, is followed by Our Century (1982), a
50-minute ciné-poem fabricated from archival footage on the consequences
of present-day human endeavor. The program concludes with The End
(1994), a tour de force of editing and an emblematic train ride through
the darkness. (Total running time 90 minutes). Artavazd Peleshian,
Armenia's distinguished cinematic poet, is rooted in the history of his
homeland yet universal in his reach. During a long career that began in
the Soviet period, Peleshian—who developed his own distinctive style for
assembling and scoring his material—has crafted a body of iconic
cinematic short essays that study the spiritual aspects of nature,
history, and human life. Similar to his friend Sergei Paradjanov,
Peleshian (b. 1938)—"a master of montage and true descendant of Vertov
and Eisenstein" (Pacific Film Archive)—is a national treasure in Armenia
and unlike any other filmmaker.
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.