From: Weekly Listing (email suppressed)
Date: Sat Feb 27 2010 - 10:22:26 PST
Part 2 of 2: This week [February 27 - March 7, 2010] in avant garde cinema
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FRIDAY, MARCH 5, 2010
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3/5
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
GARY GOLDBERG PROGRAM 1
PLATES (1990, 11 minutes, 16mm, sound) With Bill Rice & Taylor Mead;
camera/sound by Jacob Burckhardt. "Bill serves Taylor plates." –G.G.
"Not to be missed." –Amy Taubin, VILLAGE VOICE MESMER (1991, 10 minutes,
16mm, sound) With Bill Rice & Taylor Mead; camera/sound by Jacob
Burckhardt. "Hypnotizing. An inward journey of outer mannerisms that
remains indelible." –George Kuchar USHER (1991, 11 minutes, 16mm,
silent) With Bill Rice & Taylor Mead; camera by Mark Baumgartener. "Bill
plays a blind usher in an old movie theater. Taylor is a bag lady who
comes to see the show." –G.G. BIG BABY (1993, 20 minutes, 16mm, sound)
With Bill Rice, Taylor Mead, and Hapi Phace; camera by Mark
Baumgartener. Can be performed with live cap pistol. "Big Baby is baad."
–G.G. DANCE (1993, 18 minutes, 16mm, sound) With Bill Rice & Taylor
Mead; camera by Mark Baumgartener. "Two aged vaudevillians in an
abandoned theater." –G.G. Total running time: ca. 75 minutes. Screening
as part of the series SIX FILMS BY GARY GOLDBERG
3/5
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
GARY GOLDBERG PROGRAM 2
HEARTS (1993, 24 minutes, 16mm, sound) With Bill Rice, Taylor Mead, and
Scott Heron; camera by Mark Baumgartener. "Bill proposes to Taylor, with
disastrous results." –G.G. Plus: SHINE (2002, 33 minutes, 16mm, sound)
One of the last films he made before his death, SHINE finds Goldberg
confronting a flashlight. Total running time: ca. 60 minutes. Screening
as part of the series SIX FILMS BY GARY GOLDBERG
3/5
Toronto, Ontario, Canada: TIFF Cinematheque
http://www.cinemathequeontario.ca/filmdetail.aspx?filmId=1796
9:00 PM, Jackman Hall, Art Gallery of Ontario (317 Dundas St. West, McCaul St. entrance)
TIFF CINEMATHEQUE PRESENTS: LES ANNéES DéCLIC (PG)
When the Arles Festival invited world-renowned photo-journalist Raymond
Depardon to present a collection of his award-winning photographs, he
instead chose to make a film-essay using slides from his personal and
professional image archives. The result is an intimate meditation on the
relationship between film and photography, on the nature of photography
itself and its attendant, sometimes unpredictable connection to memory,
and the vocation of chasing images all told through a touching stream of
consciousness and displayed with a simple, magic lantern style. Sitting
at his editing table, with his back facing us, Depardon clicks through
the slides that tell the story of his existence, including images of him
as a child, his fifteenth birthday, his life-affirming trip to Paris,
his first journey to Africa, and his military activism. Tinged with the
melancholia of time's passing, Les Années déclic is a great,
globetrotting narrative that adds up to an incredible life. It's also a
fascinating example of direct cinema, as Depardon claims he simply
turned on the camera and extemporized the narration on the spot. Les
Années déclic favorably recalls the meditative film essays of Chris
Marker, most notably Sans Soleil (albeit narrated in the first person),
as Depardon interweaves memory (at times triggered by the recognition of
images, at other times selectively trivialized or highlighted by the
benefit of hindsight), captured images, and vocational (and existential)
introspection on the toll of his career on his relationship with his
beloved parents. Depardon achieves a thoughtful, distilled, lucid, and
articulate introspection on the human imprint of turbulent history.
(Aquarello). —Andréa Picard || Pricing: Members: $5.90 |
Students/Seniors/Child/Youth: $5.90 | Non-members: $10.14
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SATURDAY, MARCH 6, 2010
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3/6
Los Angeles, California: Redcat
http://www.redcat.org/
Noon, 1:30pm and 3pm, 631 W. 2nd St., Los Angeles, CA 90012
REDCAT INTERNATIONAL CHILDREN'S FILM FESTIVAL
Presented in partnership with Northwest Film Forum and Cinema K.Now in
its fifth year, this audience favorite offers a treasure trove of
cinematic delights for filmgoers of all ages. Two weekend programs bring
wondrous animation, exhilarating live action, and rarely shown classics.
The festival also includes a very special Nickelodeon Family Fun
Day.Curated by Elizabeth Shepherd.Funded in part with generous support
from Virginia and Austin Beutner and Nickelodeon. Program runs Feb. 26th
and 27th and the following weekend Saturday, Mar. 6th and Sunday, Mar.
7th. There is a special Nick Family Fun Day on Sunday, April 27th
3/6
Madrid: La Casa Encendida
22.00 pm, Ronda Valencia, 2
THE ROOM + A GRAMMAR FOR LISTENING PARTS 1 + 2.
The Room is an ongoing series of live collaborations between three
artists with 16mm films from Luke Fowler and Peter Todd and live guitar
improvisations by Keith Rowe. The first installment was performed at
Tate Modern in London in 28th Novmber 2008. The room is cumulative with
new films presented each time it is performed. The filmed rooms are
unpopulated, yet they harbour residues of human activity. Hidden
frequencies are unearthed; radio static and random broadcasts dialled
in; fleeting movements of light captured. + Two films by Luke Fowler
which are collaborations with two prominent specialists in sound
artists,Lee Patterson and Enric House, recording natural and urban
environments.
3/6
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street
PERSONAL CINEMA SERIES - MARK STREET
HIDDEN IN PLAIN SIGHT (60 min.-2008), TRAILER TRASH (5 min.-2009)
"HIDDEN IN PLAIN SIGHT is inspired by the tradition of cinematic city
symphonies and its made up of footage shot in four cities: Santiago,
Chile, Hanoi, Vietnam, Dakar, Senegal and Marseille, France. Vignettes
from each place are juxtaposed so that the viewer is pulled from place
to place, picking up the pieces, making the connections only to have
them disappear just as quickly. Historical details (about Salvador
Allende and Ho Chi Minh, among others), quotes from writing (by Miriama
Ba and Charles Baudelaire and others), laconic captions, scored music,
and expressionist sound design, offer contrasting contexts in which to
view these images. HIDDEN IN PLAIN SIGHT offers a dynamic way of viewing
street life in these locales, encouraging us to think about how we
apprehend a place visually and conceptually."- M.S. On TRAILER TRASH: "A
skewed take on film detritus: 35mm movie trailers rescued from the trash
and affected by hand and digitally holding up a fun-house mirror to the
industry of expectations."- M.S.
3/6
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: HUGO/JORDAN/LEVITT/MAAS PROGRAM
Ian Hugo BELLS OF ATLANTIS (1952, 10 minutes, 16mm, color) Film poem,
based on Ana?s Nin's HOUSE OF INCEST, spoken by Nin, who also appears.
Larry Jordan DUO CONCERTANTES (1962-64, 6 minutes, 16mm, b&w) HAMFAT
ASAR (1965, 13 minutes, 16mm, b&w) GYMNOPEDIES (1968, 6 minutes, 16mm,
color) THE OLD HOUSE, PASSING (1966, 45 minutes, 16mm, b&w) Brand new
print – preserved by Anthology Film Archives! OUR LADY OF THE SPHERE
(1968, 9 minutes, 35mm, color) Brand new 35mm print! "With a taste for
nostalgic romanticism…Jordan creates a magical universe of work using
old steel engravings and collectable memorabilia. His 50-year pursuit
into the subconscious mind gives him a place in the annals of cinema as
a prolific animator on a voyage into the surreal psychology of the inner
self." –Jackie Leger Helen Levitt IN THE STREET (1952, 12 minutes, 16mm,
b&w. Preserved by Anthology Film Archives.) Levitt's short, lyrical
documentary portrait of life in Spanish Harlem. Stealthily shot by
Levitt, Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE BODY
(1943, 7 minutes, 16mm, b&w. Preserved with support from The National
Film Preservation Foundation.) "The terrors and splendors of the human
body as the undiscovered, mysterious continent." –W.M. Total running
time: ca. 115 minutes.
3/6
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
GARY GOLDBERG PROGRAM 1
PLATES (1990, 11 minutes, 16mm, sound) With Bill Rice & Taylor Mead;
camera/sound by Jacob Burckhardt. "Bill serves Taylor plates." –G.G.
"Not to be missed." –Amy Taubin, VILLAGE VOICE MESMER (1991, 10 minutes,
16mm, sound) With Bill Rice & Taylor Mead; camera/sound by Jacob
Burckhardt. "Hypnotizing. An inward journey of outer mannerisms that
remains indelible." –George Kuchar USHER (1991, 11 minutes, 16mm,
silent) With Bill Rice & Taylor Mead; camera by Mark Baumgartener. "Bill
plays a blind usher in an old movie theater. Taylor is a bag lady who
comes to see the show." –G.G. BIG BABY (1993, 20 minutes, 16mm, sound)
With Bill Rice, Taylor Mead, and Hapi Phace; camera by Mark
Baumgartener. Can be performed with live cap pistol. "Big Baby is baad."
–G.G. DANCE (1993, 18 minutes, 16mm, sound) With Bill Rice & Taylor
Mead; camera by Mark Baumgartener. "Two aged vaudevillians in an
abandoned theater." –G.G. Total running time: ca. 75 minutes. Screening
as part of the series SIX FILMS BY GARY GOLDBERG
3/6
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
GARY GOLDBERG PROGRAM 2
HEARTS (1993, 24 minutes, 16mm, sound) With Bill Rice, Taylor Mead, and
Scott Heron; camera by Mark Baumgartener. "Bill proposes to Taylor, with
disastrous results." –G.G. Plus: SHINE (2002, 33 minutes, 16mm, sound)
One of the last films he made before his death, SHINE finds Goldberg
confronting a flashlight. Total running time: ca. 60 minutes. Screening
as part of the series SIX FILMS BY GARY GOLDBERG
3/6
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia
OTHER CINEMA, 3/6: CINEMA ABATTOIR’S CINEMAS, HEAVINESS
Emerging from the vault of Montreal's occult film society Cinema
Abattoir (Slaughterhouse), Pierre-Luc Vaillancourt presents Le cinema,
l'apesanteur, a program that exposes the latent image, the one situated
inside the menacing Spiral itself. Satanism, Nature, Love, and Mysticism
are all motoring against the clear-image (Death). The perforations and
fragmentation never become Symbol, and never were. Instead, if looking
long enough without ever blinking, its essence is emanating. It is in
this breathing-space (the Spiral) that the Light merges, maybe
in-between the frames? Look into my eyes! each of these films whispers:
François Miron's Kick That Habit Man (1989), Jean-Claude Labrecque's
Essai à la Mille (1970), Alexandre Larose's Brouillard (2009),
Pierre-Luc Vaillancourt's Neuf Oeufs Noirs (2010), Serge de Cotret's
Sacré-coeur de Satan (2008), Solomon Nagler's The Sex of Self-Hatred
(2004), Karl Lemieux' Mouvement de Lumière (2004), Étienne O'Leary's
Chromo Sud (1968). Co-produced with Christine Metropoulos and SF
Cinematheque, *$9.99.
3/6
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
8:30pm, Artists' Television Access, 992 Valencia St. (at 21st St.), San Francisco, CA 94110
LE CINEMA, L’APESANTEUR (CINEMAS, HEAVINESS): CINéMA ABATTOIR
presented in association with Other Cinema, curated & presented by
Pierre-Luc Vaillancourt of Cinéma Abattoir: Toward the Abîme-Cinéma, Le
cinema, l'apesanteur (Cinemas, Heaviness) exposes the latent image, the
one situated inside the anticipated and menacing Spiral itself.
Satanism, Nature, Love and Mysticism are all motoring against the
opacity of the clear-image (Death). The perforations and fragmentation
never become Symbol, and never were. Instead, if looking long enough
without ever blinking, its essence (neither visibility nor transparency,
but Light) is, and always was, emanating. It is in this breathing space
(the Spiral) that the Light merges, not in the film, but maybe
in-between the frames? (Look into my eyes! that each films whisper, Look
into my eyes!). (PIERRE-LUC VAILLANCOURT) Francois Miron: Kick That
Habit Man (1989) 3 min. Jean-Claude Labrecque: Essai à la mille (1970),
7 min. Alexandre Larose: Brouillard (2009), 3 min. Pierre-Luc
Vaillancourt: Neuf Oeufs Noirs (2008-2010), ? min. Serge de Cotret:
Sacré-coeur de Satan (2008), 10 min. Solomon Nagler: The Sex of
Self-Hatred (2004), 9 min. Karl Lemieux: Mouvement de Lumière (2004), 8
min. Étienne O'Leary: Chromo Sud (1968), 21 min. TICKETS: members: $5 /
non-members: $10
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SUNDAY, MARCH 7, 2010
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3/7
Los Angeles, California: Redcat
http://www.redcat.org/
Noon, 1:30pm and 3pm, 631 W. 2nd St., Los Angeles, CA 90012
REDCAT INTERNATIONAL CHILDREN'S FILM FESTIVAL
Presented in partnership with Northwest Film Forum and Cinema K.Now in
its fifth year, this audience favorite offers a treasure trove of
cinematic delights for filmgoers of all ages. Two weekend programs bring
wondrous animation, exhilarating live action, and rarely shown classics.
The festival also includes a very special Nickelodeon Family Fun
Day.Curated by Elizabeth Shepherd.Funded in part with generous support
from Virginia and Austin Beutner and Nickelodeon. Program runs Feb. 26th
and 27th and the following weekend Saturday, Mar. 6th and Sunday, Mar.
7th. There is a special Nick Family Fun Day on Sunday, April 27th
3/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TOM, TOM, THE PIPER'S SON
by Ken Jacobs 1969, 115 minutes, 16mm, b&w/color, silent. An absolute
masterpiece from one of the most inspiring innovators of modern cinema.
"Original 1905 film shot and probably directed by G.W. 'Billy' Bitzer,
rescued via a paper print filed for copyright purposes with the Library
of Congress. It is most reverently examined here, absolutely loved, with
a new movie, almost as a side effect, coming into being." –K.J.
Screening as part of ESSENTIAL CINEMA
3/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JENNINGS/KIRSANOFF/LEGER & MURPHY/CLAIR & PICABIA
PROGRAM
Humphrey Jennings LISTEN TO BRITAIN (1941, 19 minutes, 35mm, b&w)
Jennings's film is a masterpiece of sound mixing; it creates an audio
landscape of Britain during the war, with images both accompanying and
conflicting with the multitude of sounds. From the film's introduction:
"I have been listening to Britain. I have heard the sound of her life by
day and by night…. In the great sound picture that is here presented,
you too will hear that heart beating. For blended together in one great
symphony is the music of Britain at war. The evening hymn of the lark,
the roar of the Spitfires, the dancers in the great ballroom at
Blackpool, the clank of machinery and shunting trains." Dimitri
Kirsanoff M?NILMONTANT (1924-25, 38 minutes, 35mm, b&w, silent) A
melodramatic story of an orphan girl whose seduction is avenged. Early
use of hand-held camera, montage, and superimpositions. Fernand L?ger &
Dudley Murphy BALLET M?CANIQUE (1924, 19 minutes, 35mm, b&w, silent)
Preserved by Anthology Film Archives! A brief exploration of cubist
form, black and white tonalities, and various vectors through its
constant, rapidly cut movements and compositions. Many of the film's
forms and compositions are reflected in – or themselves reflect – forms
and compositions in L?ger's famous cubist paintings from the period.
Ren? Clair & Francis Picabia ENTR'ACTE (1924, 22 minutes, 35mm, b&w) A
masterpiece of dada, a feat of cinema magic. Made as an intermission
entertainment for the Ballet Su?dois from an impromptu scenario by
Francis Picabia. Music by Erik Satie. Total program time: ca. 105
minutes.
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