From: Weekly Listing (email suppressed)
Date: Sat Feb 27 2010 - 10:22:24 PST
Part 1 of 2: This week [February 27 - March 7, 2010] in avant garde cinema
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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Orientations" by Ismail Bahri
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=416.ann
"The Journal of Short Film Volume 17" by Matt Swift
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=415.ann
JOB AVAILABLE:
==============
University of Oklahoma
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=6.ann
ITEM FOR SALE:
==============
JK - 45 Optical Printer For sale
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=17.ann
MISCELLANEOUS:
==============
MAMC, City University of Hong Kong
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=109.ann
MFACM, City University of Hong Kong
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=110.ann
NEW CALLS FOR ENTRIES:
=====================
Festival Miden (Location: Kalamata, Greece; Deadline: April 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1149.ann
Wimbledon Shorts 2010 (London, Wimbledon; Deadline: April 14, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1144.ann
silver spring/Takoma Park (silver spring, Md, USA; Deadline: April 02, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1145.ann
INVIDEO (Milano - Italy; Deadline: June 25, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1146.ann
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1147.ann
Antimatter Film Festival (Victoria, BC, Canada; Deadline: June 04, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1148.ann
DEADLINES APPROACHING:
======================
The Lab (San Francisco, CA 94103; Deadline: March 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1095.ann
Toronto Student Film Festival (Toronto, Canada; Deadline: March 22, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1096.ann
filmarmalade (london; Deadline: March 30, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1100.ann
Chips and Salsa Film Festival (wilmington, nc, usa; Deadline: March 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1101.ann
Around the Coyote (Chicago, IL; Deadline: February 28, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1107.ann
7th film sharing Low & No Budget Filmfestival Tour 2010 (Stuttgart and tour in Germany; Deadline: April 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1113.ann
Migrating Forms (Brooklyn, NY, USA; Deadline: March 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1119.ann
IC Docs (Iowa City, IA, USA; Deadline: March 06, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1121.ann
DotFest - International Online Short Film Festival (Switzerland; Deadline: March 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1122.ann
Margaret Mead Film & Video Festival (New York, NY; Deadline: March 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1130.ann
Odds and Ends (Portland, Oregon. USA; Deadline: April 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1134.ann
Im:mobil Art (italy; Deadline: February 28, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1135.ann
Magmart | video under volcano, international videoart festival, extend its deadline (Naples, Italy; Deadline: February 28, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1136.ann
International Talent Workshop - Zagreb Jewish Film Festival (Zagreb, Croatia; Deadline: April 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1137.ann
Chicago Underground Film Festival (Chicago, IL USA; Deadline: March 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1138.ann
Towson University Queer Film Festival (Towson, MD, USA; Deadline: March 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1141.ann
WAMM Festival (Women and Minorities in Media Festival) (Towson, MD, USA; Deadline: March 07, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1142.ann
Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: April 02, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1143.ann
silver spring/Takoma Park (silver spring, Md, USA; Deadline: April 02, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1145.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
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Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Redcat International Children's Film Festival [February 27, Los Angeles, California]
* One Minute Volume 3 [February 27, Melbourne, Australia]
* Personal Cinema Series - Cauleen Smith [February 27, New York, New York]
* Finished [February 27, New York]
* William E. Jones Shorts [February 27, New York]
* Is It Really So Strange? [February 27, New York]
* Other Cinema, 2/27: Ross Lipman & Blf's Inquiry Towards the Practice of
Secular Magic [February 27, San Francisco, California]
* Unusual Heroes: John Darnielle and Lou Barlow Double Feature Noise Pop
Film Festival [February 27, San Francisco, California]
* Woodstock: Now & then: Noise Pop Film Festival [February 27, San Francisco, California]
* Darkest Americana & Elsewhere iii: Films, video & Words of James Benning [February 27, San Francisco, California]
* Strategies of the Medium V: Go Big Or Go Home [February 27, Toronto, Ontario, Canada]
* BjøRn Melhus: Out of the Blue [February 28, Los Angeles, California]
* Tearoom [February 28, New York]
* V.O. [February 28, New York]
* All My Friends Are Funeral Singers: Noise Pop Film Festival [February 28, San Francisco, California]
* Secret To A Happy Ending: Noise Pop Film Festival [February 28, San Francisco, California]
* All My Friends Are Funeral Singers: Noise Pop Film Festival [February 28, San Francisco, California]
* Darkest Americana & Elsewhere iv: Films, video & Words of James Benning [February 28, San Francisco, California]
* Www.Tank.Tv : AuréLien Froment March 1st - 31st [March 1, London, England]
* Don Levy: Herostratus [March 1, Los Angeles, California]
* Massillon [March 1, New York]
* Is It Really So Strange? [March 2, New York]
* In A Lonely Place [March 2, Reading, Pennsylvania]
* Australian Avant-Garde: An Historical Overview [March 2, San Francisco, California]
* New To You: Some Recent and Really Old Works By andrew Lampert [March 3, Boston, Massachusetts]
* Documentary Fortnight 2010 [March 3, New York, New York]
* ElléPhant Presents Spectacle De VariéTéS [March 3, New York, New York]
* Finished [March 3, New York]
* Hey! A Dean Snider Birthday Celebration [Part I] [March 3, San Francisco, California]
* Hey! A Dean Snider Birthday Celebration [Part ii] [March 3, San Francisco, California]
* Celebrate the Life and Films of Dean Snider [March 3, San Francisco, California]
* 18th Annual $100 Film Festival [March 4, Calgary, AB]
* Video and Sound From Takeshi Murata and Robert Beatty [March 4, Chicago, Illinois]
* V.O. [March 4, New York]
* Tearoom [March 4, New York]
* Gary Goldberg Program 1 [March 5, New York]
* Gary Goldberg Program 2 [March 5, New York]
* Tiff Cinematheque Presents: Les AnnéEs DéClic (Pg) [March 5, Toronto, Ontario, Canada]
* Redcat International Children's Film Festival [March 6, Los Angeles, California]
* The Room + A Grammar For Listening Parts 1 + 2. [March 6, Madrid]
* Personal Cinema Series - Mark Street [March 6, New York, New York]
* Essential Cinema: Hugo/Jordan/Levitt/Maas Program [March 6, New York]
* Gary Goldberg Program 1 [March 6, New York]
* Gary Goldberg Program 2 [March 6, New York]
* Other Cinema, 3/6: Cinema Abattoir's Cinemas, Heaviness [March 6, San Francisco, California]
* Le Cinema, L’Apesanteur (Cinemas, Heaviness): CinéMa Abattoir [March 6, San Francisco, California]
* Redcat International Children's Film Festival [March 7, Los Angeles, California]
* Essential Cinema: Tom, Tom, the Piper's Son [March 7, New York]
* Essential Cinema: Jennings/Kirsanoff/Leger & Murphy/Clair & Picabia
Program [March 7, New York]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, FEBRUARY 27, 2010
---------------------------
2/27
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
2/27
Melbourne, Australia: One Minute Programme
http://www.kerrybaldry.moonfruit.com/#/one-minute/4530939672
8.30pm, The BAck doOR @ suek-artist entry off back lane 658 Plenty Road, Preston, 3072, Melbourne, Australia
ONE MINUTE VOLUME 3
suek-artist and cogcollective present: One Minute Vol. 3 curated by
Kerry Baldry One Minute Volume 3 follows on from One Minute Volumes 1
and 2 and features over 30 artists at varying stages of their careers.
An eclectic range of moving image and includes works whose original
formats include 16mm film, Super 8 film and video using approaches such
as stopframe animation, superimposition etc. Yet all the works have one
thing in common, they are constrained by a time limit of sixty seconds.
Artists include: Marty St.James, Louisa Minkin, Martin Pickles, Eva
Rudlinger, Emily Richardson, Gordon Dawson, Nick Jordan, Richard Tuohy,
Alex Pearl, Hollington & Kyprianou, Kayla Parker and Stuart Moore,
Katherine Meynell, Gary Peploe, Rose Butler, Leister/Harris, Kerry
Baldry, Stuart Pound, Samantha Clark, Tansy Spinks, Tony Hill, Steven
Ball, Virginia Hilyard, Dave Griffiths, Mark Wigan, Daniela Butsch,
Nynke Deinema, Claire Morales, Nicolas Herbert, Matthew Rowe and Tina
Keane.
2/27
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8PM, 66 East 4th Street
PERSONAL CINEMA SERIES - CAULEEN SMITH
Program: IT'S NOT THE BLACK (2 min.-2008), CHRONICLES OF A LYING SPIRIT
BY KELLY GABRON (6.5 min.-1989), WHITE SUIT (4 min.-1994), THE CHANGING
SAME (9.5 min.-1998), RIGHT HAND ONLY, LEFT HAND LONELY (3 min.-2007),
THE GREEN DRESS (14.5 min.-2005), DARK MATTER (11 min.-2006) and other
works to be announced. "I've been making films that use literary
strategies of science fiction for quite sometime. I am now in the
process of assembling these short films. The term afro-futurism has been
applied to this type of work for about ten yeas now, but I've been
making this type of work since about 1991 with my second film CHRONICLES
OF A LYING SPIRIT BY KELLY GABRON. I've returned to both the philosophy
and the kitsch of sci-fi many times since then all the way up to the
last video I made, THE FULLNESS OF TIME. But really, as my critical
engagement with sci-fi deepens, I've begun to realize that it's quite a
natural genre for someone like me who is very interested in history and
memory - and perhaps many more of my films create cognitive estrangement
the way sci-fi does but without the tropes of a technological novum like
the more playful self-conscious films I'm currently gathering." - C.S.
2/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
FINISHED
by William E. Jones 1997, 75 minutes, 16mm, color. FINISHED is an
elegiac but analytic portrait of Quebec porn star Alan Lambert (Alain
Lebeau), who graced two dozen California porno films with titles like
BEACH DREAMER and WOLFBOY. Haunted by the image the 25-year-old Lambert
left behind upon his suicide in 1992, Jones borrows from biographical,
documentary, and experimental approaches to perform an emotional autopsy
of a life tragically cut short. FINISHED is a detective story and a love
story, a film noir bathed in sunlight. It's a film of contradictions:
pornographic yet chaste, distanced yet mesmerizing, reticent yet moving.
Screening as part of the series THE FILMS OF WILLIAM E. JONES
2/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
WILLIAM E. JONES SHORTS
THE FALL OF COMMUNISM AS SEEN IN GAY PORNOGRAPHY (1998, 19 minutes,
video, color) Every image in this film comes from gay erotic videos
produced in Eastern Europe since the introduction of capitalism. The
video provides a glimpse of young men responding to the pressures of an
unfamiliar world, one in which money, power, and sex are now connected.
MORE BRITISH SOUNDS (2006, 8 minutes, video, color) Jones sets images
from THE BRITISH ARE COMING (1986) in collision with dialogue from SEE
YOU AT MAO (1969) also known as BRITISH SOUNDS, produced by the Dziga
Vertov Group under the direction of Jean-Luc Godard. ALL MALE MASH UP
(2006, 29 minutes, video, color) This film further reveals Jones's
fascination with the marginalia in porn films: establishing shots
revealing urban landscapes of the recent past, charmingly inept dialogue
scenes, and close-ups of performers, many now dead. This material, while
of no particular commercial use, can be seen as an invaluable document
of a lost world of eroticism and sociability. FILM MONTAGES (FOR PETER
ROEHR) (2006, 11 minutes, video, color) An appropriated video work that
also serves as a tribute to a great artist of the 1960s, this film takes
simple repetition as its first principle. Jones arranges fragments of
gay porn films into a musical composition at once austere and delirious.
Total running time: ca. 70 minutes.
2/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
IS IT REALLY SO STRANGE?
by William E. Jones 2004, 80 minutes, video, color. As the foppish,
sexually ambiguous, brilliant singer/songwriter of the 80s music legends
The Smiths, Morrissey brought intelligence, wit, and mystery to pop
tunes still unmatched in their ability to make grown men cry. In this
intimate documentary, Jones interviews a new, but equally fanatical, fan
base of The Smiths and Morrissey: Latino youths in East Los Angeles.
Making the connection between The Smiths' working-class,
Manchester-raised, ethnic Irish experience and that of the sons and
daughters of Mexican immigrants in Los Angeles, it explores Morrissey's
enduring appeal among the pompadoured denizens of the Inland Empire who,
as one fan puts it, relate to Morrissey because "he always sounds sad
and depressed and lonely – all the good stuff." Screening as part of the
series THE FILMS OF WILLIAM E. JONES
2/27
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia
OTHER CINEMA, 2/27: ROSS LIPMAN & BLF’S INQUIRY TOWARDS THE PRACTICE OF
SECULAR MAGIC
Enjoy pranks, hoaxes, forgeries, guerrilla theater, and social sculpture
in an empowering tapestry of transfiguring reality! Filmmaker/archivist
Ross Lipman and the Billboard Liberation Front's Jack Napier present an
evening of secular magic; the alchemical act of transmuting everyday
life into fiction—and vice versa. Their Inquiry examines actions,
including films, performances, essays, and rare archival documents, that
turn reality inside out. The line-up includes: a PowerPoint performance
on the birth of the TV Spectacle, Ferdinand Marcos hustling a tribe of
"cave people" to feed his wife's shoe habit, an enigmatic Butoh
performance in the streets of Brooklyn (by SF expat artist Leigh Evans),
and the latest breathtaking hijinks of the heroic Billboard Liberation
Front. Through a collaboration with the Pacific Film Archive, we've been
able to arrange this extraordinary return of Mr. Lipman, internationally
renown for his preservation projects at UCLA.
2/27
San Francisco, California: Artists Television Access
http://www.atasite.org/
2pm. $10, 992 Valencia at 21st.
UNUSUAL HEROES: JOHN DARNIELLE AND LOU BARLOW DOUBLE FEATURE NOISE POP
FILM FESTIVAL
Q&A with Director Adam Harding after the screening Lou Barlow: Goodnight
Unknown, Directed by Adam Harding (TRT 30 mins) A revealing and intimate
glimpse into the creative process of indie rock pioneer, Lou Barlow
(Dinosaur Jr, Sebadoh, Folk Implosion), chronicling the journey from
initial ideas to the eventual completion of his latest record,
'Goodnight Unknown'. Narrated by Lou himself, this film offers rare
insight into the fascinating mind of the influential artist. Featuring
never before heard demos as well as original music and soundscapes
recorded exclusively for this documentary. Also featuring appearances
from fellow musicians, Dale Crover (Melvins, Nirvana) and Imaad Wasif
(Folk Implosion, Alaska!, Yeah Yeah Yeahs). The Mountain Goats, "The
Life of the World to Come", A Film by Rian Johnson (TRT 51 mins In this
film by Rian Johnson (Brick, the Brothers Bloom), John Darnielle
performs "The Life of the World to Come" on piano and guitar. Shot in
the same building where, as an eight-year-old piano student and new
transplant to Claremont, he performed Bach minuets for the state
examiner, The Life of the World to Come takes the songs from the album
and restores them to their raw original states: skin, blood, and bone.
www.mountain-goats.com Ticket Link:
http://www.ticketfly.com/purchase/event/4361
2/27
San Francisco, California: Artists Television Access
http://www.atasite.org/
4pm. $10, 992 Valencia at 21st.
WOODSTOCK: NOW & THEN: NOISE POP FILM FESTIVAL
"Woodstock: Now & Then"explores the frenzied days leading up to the
festival, from how the planners scrambled to find a concert site and the
traffic jams that shut down the New York State Thruway to the notorious
"brown acid" to the thunderous rain and mud and, of course, the music.
Weaving together first-hand accounts with rare archival images and an
iconic soundtrack, the documentary allows those who were there a chance
to relive the experience and gives an entirely new generation an
opportunity to feel the magic of that time. The film also takes an
important look at Woodstock's legacy through the eyes of today's
musicians and activists, examining why Woodstock and all it symbolizes
is still relevant in today's culture. Directed by Barbara Kopple (TRT
120 mins) Info: www.cabincreekfilms.com,
www.history.com/content/woodstock/photo-galleries/woodstock-now-and-then
-part-1 Ticket Link: http://www.ticketfly.com/purchase/event/4363
2/27
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Presentation Theatre at University of San Francisco, 2350 Turk Boulevard (near Masonic Ave), San Francisco, CA 94118
DARKEST AMERICANA & ELSEWHERE III: FILMS, VIDEO & WORDS OF JAMES BENNING
presented in association with the Film Studies Program at the University
of San Francisco and the Exploratorium's Cinema Arts Program: James
Benning in-person! After nearly three decades of creating films in U.S.
locations, James Benning's feature-length Ruhr is his first work shot
entirely outside of North America (and his first work on digital video).
Commissioned for German television, the film is an outsider's portrait
of Germany's Ruhr District. An industrial and working class
environment—recalling Benning's hometown of Milwaukee, Wisconsin—the
Ruhr is the center of Germany's coal and steel-making industries and the
site of massive Allied attacks during World War II. Consisting of only
six shots, the feature-length video provides lingering insight into the
filmmaker's exploration of an uncannily familiar foreign landscape. Ruhr
screens with the single-shot short Fire & Rain, an impressionistic
meditation on the four elements, created in the heart of a steel mill.
(STEVE POLTA) James Benning: Ruhr (2009), 120 min. » : Fire & Rain
(2009), 1.5 min. TICKETS: members: $5 / non-members: $10
2/27
Toronto, Ontario, Canada: Liaison of Independent Filmmakers of Toronto
http://www.lift.on.ca/
8pm, Cinecyle, 129 Spadina Avenue (down the alley)
STRATEGIES OF THE MEDIUM V: GO BIG OR GO HOME
This installment of the LIFT Strategies of the Medium series is
dedicated to artist film in 35mm. Often perceived as an inaccessible
format and/or one geared towards industry uses, there is a growing
circle of DIY filmmakers from around the world using 35mm in affordable,
creative and unexpected ways. This screening explores the diversity of
their practices from cameraless animation to sparse structural works.
The program complements 35mm courses offered in the LIFT winter 2010
workshop season: 35mm Filmmaking: An Overview and Introduction to the
35mm Animation Stand. The screening will be followed by a panel
discussion with filmmakers Kelly Egan, John Price and Steven Woloshen.
// PROGRAM: Three hours, fifteen minutes before the hurricane struck
(Christina Battle); C:won Eyed Jail (Kelly Egan); A Firefly (Kelly
Egan); Post Mark Lick (Sonia Bridge); Going Back Home (Louise Bourque);
ten thousand dreams (John Price); Love in the White City (Clive Holden);
Blue Tide, Black Water (Eve Gordon & Sam Hamilton); The Babble on Palms
(Steven Woloshen); View of the Falls from the Canadian Side (John
Price); Editorial (Steven Woloshen). Running time: 60:30 min.
-------------------------
SUNDAY, FEBRUARY 28, 2010
-------------------------
2/28
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
BJøRN MELHUS: OUT OF THE BLUE
Bjørn Melhus in peson! He has developed a singular position, expanding
the possibilities for the critical reception of cinema and television.
His practice of fragmentation, destruction, and reconstitution of
well-known figures, topics, and strategies of the mass media opens up
not only a network of new interpretations and critical commentaries, but
also defines the relationship of mass media and viewer anew. BLUE MOON
(1997, Video, 4:00); OUT OF THE BLUE (1997, Video, 6:24); THE ORAL THING
(2001, Video, 8:00); AUTO CENTER DRIVE (2003, 16 mm film on video,
28:00); THE MEADOW (2007, video, 28:38)
2/28
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Avenue
TEAROOM
by William E. Jones 1962/2007, 56 minutes, 16mm-to-video, color, silent.
TEAROOM consists of footage shot by the police in the course of a
crackdown on public sex in the Midwest. In the summer of 1962, the
Mansfield, Ohio, Police Department photographed men in a restroom,
filming from a closet through a two-way mirror. Their footage was used
in court as evidence against the defendants, all of whom were found
guilty of sodomy, which at that time carried a mandatory minimum
sentence of one year in the state penitentiary. The original footage
came into Jones's possession while he was researching this case for a
documentary project. The unedited scenes of ordinary men of various
races and classes meeting to have sex were so powerful that the director
decided to present it with a minimum of intervention. TEAROOM is a
radical example of film presented 'as found' for the purpose of
circulating historical images that have otherwise been suppressed. &
MANSFIELD 1962 (2006, 9 minutes, video, b&w, silent) Screening as part
of the series THE FILMS OF WILLIAM E. JONES
2/28
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
V.O.
by William E. Jones 2006, 59 minutes, video, color. In a variation on
what DJs call a 'mash-up', Jones combines segments of sound from classic
foreign-language films with scenes from gay porn films produced before
1985, making decisions based upon the length of the segments rather than
their content. The somewhat arbitrary juxtaposition of diverse 'found'
materials often yields surprisingly appropriate results. v. o. suggests
a new narrative space and pays tribute to a former era of gay life and
cinephilia. Screening as part of the series THE FILM OF WILLIAM E. JONES
2/28
San Francisco, California: Artists Television Access
http://www.atasite.org/
4:15, $10, 992 Valencia St, at 21st
ALL MY FRIENDS ARE FUNERAL SINGERS: NOISE POP FILM FESTIVAL
Q&A with the Director/Musician Tim Rutili following the screening. Zel
is a fortune teller. She works out of her century-old house removing
clients' aches and pains, advising gamblers and channeling cranky
spirits for a quick check-in with their loved ones. Zel is very good at
her chosen profession, but she also receives some unique assistance. For
as long as she can remember she has shared her home with a group of
ghosts — a priest, a bride, a mute child, some washed up vaudevillians
and a noisy group of sight-impaired musicians — who pass on incredible
knowledge and abilities from beyond the world of the living. All goes on
at the family homestead as it has for generations, until a mysterious
light appears in the woods. The ghosts suddenly realize they are trapped
and forge a rebellion, tormenting Zel with all the aggravation and
insanity they can muster. When Zel uncovers the origins of these
spirits, she is forced to choose between her comfortable if strange
existence and letting go of the only family she has ever known. Zel's
unique story is a lesson in hope, habit, and folklore. The atmosphere is
utterly enchanting, an odd realism tinged with humor and wonder. Angela
Bettis, respected cult actress known for roles in MAY and GIRL,
INTERRUPTED delivered an extraordinary performance as Zel. Superstition,
sound and the intricate details of the claustrophobic house feed the
film's construction, allowing the story to unfold like music. This is no
surprise, as writer/director Tim Rutili is also a founding member of the
band Califone, who appear in the film and provide the lush original
soundtrack. http://www.funeralsingers.com/ http://www.califonemusic.com/
Ticket Link: http://www.ticketfly.com/purchase/event/4873
2/28
San Francisco, California: Artists Television Access
http://www.atasite.org/
2pm. $10, 992 Valencia at 21st.
SECRET TO A HAPPY ENDING: NOISE POP FILM FESTIVAL
This is a film about the redemptive power of rock-and-roll. It's a film
about the American South, where rock was born. It's about a band,
straddling the borders of rock, punk, and country. It's about making
art, making love and making a living. It's about the Drive-By Truckers.
"The Secret to a Happy Ending" documents the band and their congregation
of fans as they explore tales of human weakness and redemption. While
DBT songs are often dark, their whiskey-soaked concerts raise joyful
hell. With the filmmaker's unparalleled access, "The Secret to a Happy
Ending" documents three critical years of touring and recording – years
in which the band struggles to overcome the trauma of divorce and
survives a near breakup, as they persist in their search for a happy
ending. In February 2004 independent filmmaker Barr Weissman proposed
making the documentary. After several discussions with the band, filming
began in January 2005 and wrapped up in October 2007. Following a long
twisted road, editing was completed in November 2009. TRT 101 mins, Q&A
with director Barr Weissman following the screening. Direct Ticket link:
http://www.ticketfly.com/purchase/event/4533
2/28
San Francisco, California: Artists Television Access
http://www.atasite.org/
4:15pm, $10, 992 Valencia at 21st.
ALL MY FRIENDS ARE FUNERAL SINGERS: NOISE POP FILM FESTIVAL
Q&A with the Director/Musician Tim Rutili following the screening. Zel
is a fortune teller. She works out of her century-old house removing
clients' aches and pains, advising gamblers and channeling cranky
spirits for a quick check-in with their loved ones. Zel is very good at
her chosen profession, but she also receives some unique assistance. For
as long as she can remember she has shared her home with a group of
ghosts — a priest, a bride, a mute child, some washed up vaudevillians
and a noisy group of sight-impaired musicians — who pass on incredible
knowledge and abilities from beyond the world of the living. All goes on
at the family homestead as it has for generations, until a mysterious
light appears in the woods. The ghosts suddenly realize they are trapped
and forge a rebellion, tormenting Zel with all the aggravation and
insanity they can muster. When Zel uncovers the origins of these
spirits, she is forced to choose between her comfortable if strange
existence and letting go of the only family she has ever known. Zel's
unique story is a lesson in hope, habit, and folklore. The atmosphere is
utterly enchanting, an odd realism tinged with humor and wonder. Angela
Bettis, respected cult actress known for roles in MAY and GIRL,
INTERRUPTED delivered an extraordinary performance as Zel. Superstition,
sound and the intricate details of the claustrophobic house feed the
film's construction, allowing the story to unfold like music. This is no
surprise, as writer/director Tim Rutili is also a founding member of the
band Califone, who appear in the film and provide the lush original
soundtrack. http://www.funeralsingers.com/ http://www.califonemusic.com/
Ticket Link: http://www.ticketfly.com/purchase/event/4873
2/28
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
3:00pm, McBean Theatre at the Exploratorium, 3601 Lyon St. (near Marina Blvd)., San Francisco, CA 94123
DARKEST AMERICANA & ELSEWHERE IV: FILMS, VIDEO & WORDS OF JAMES BENNING
presented in association with the Exploratorium's Cinema Arts Program:
James Benning in-person! The figure of the artist, explorer or
philosopher working in contemplative isolation figures prominently in
the American narrative. In 2007 and 2008, in an act of private
contemplation of this archetype, James Benning constructed replicas of
two famous sites of this tradition: the cabin of Henry David
Thoreau—built in 1845 at Walden Pond—and contemporary radical
environmentalist Theodore Kaczynski's cabin near Lincoln, Montana.
Imagining these figures as the idealistic alpha and nihilistic omega of
the American hermetic philosophical tradition, Benning will discuss this
project as the centerpiece of an autobiographical presentation that
characterizes the evolution of his own work and thought as an artist
endeavoring to balance the introspective impulse with the urgencies of
social engagement. (STEVE POLTA) TICKETS: members: $5 / non-members: $10
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MONDAY, MARCH 1, 2010
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3/1
London, England: tank.tv
http://www.tank.tv/
All, Online
WWW.TANK.TV : AURéLIEN FROMENT MARCH 1ST - 31ST
This March tank.tv will be exhibiting a selection of nine videos made
between 2001 and 2009 by the artist Aurélien Froment. The idea of
filmmaking is important to understanding Froment's work. His recent
exhibition at Gasworks in London set the viewer within the potentially
fecund space of projection and for him life's experiences can be
understood through the processes of filmmaking – editing, flashback and
discarded scenes. With this in mind we are very pleased to bring a
selection of his videos to tank.tv, a platform that deals exclusively
with the moving image. Of course, we would not reduce this artist's work
to a few words so you'll simply have to visit www.tank.tv for the full,
extended experience. This exhibition has been generously supported by
Arts Council England and Paris Calling. www.tank.tv
3/1
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012
DON LEVY: HEROSTRATUS
Los Angeles restoration premiere UK, 1967, 142 min., HDCAM Though
Australian-born Don Levy taught and inspired generations of filmmakers
and artists at CalArts in the 1970s and '80s, his own underground
masterpiece Herostratus remained largely out of public view. Now, more
than 40 years after the psychedelic shock Levy delivered to a British
film industry steeped in kitchen-sink realism, Herostratus is screening
once more, thanks to a new restoration by the British Film Institute. In
this coruscating work, Michael Gothard astonishes as the eponymous young
poet who hires a PR firm to turn his planned suicide into a media
spectacle. Bursting with psychological and aesthetic urgency,
Herostratus proved as prescient about the failure of the '60s
counterculture, as it was inspirational for the likes of Stanley Kubrick
and Nicolas Roeg. "[S]een by virtually every filmmaker then working in
the British film industry…. Herostratus must now certainly rank among
the most influential of unknown films," according to Amnon Buchbinder.
3/1
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
MASSILLON
by William E. Jones 1991, 70 minutes, 16mm, color. In his first feature
film, Jones returns to his hometown to construct an unconventional and
moving autobiography. Challenging some of the most firmly entrenched
notions of filmmaking, MASSILLON tells its story without a single human
actor, by combining beautiful images with a seductive voice-over
narration. "Jones's MASSILLON is that rarity that eluded the queer new
wave, a homo road movie in which gay icons are nowhere to be seen.
MASSILLON uses the quiet landscapes of the American Midwest to look at a
history disfigured by myths of the family, patriotism, and religion."
–Lawrence Chua, ARTFORUM Screening as part of the series THE FILMS OF
WILLIAM E. JONES
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TUESDAY, MARCH 2, 2010
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3/2
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
IS IT REALLY SO STRANGE?
by William E. Jones 2004, 80 minutes, video, color. As the foppish,
sexually ambiguous, brilliant singer/songwriter of the 80s music legends
The Smiths, Morrissey brought intelligence, wit, and mystery to pop
tunes still unmatched in their ability to make grown men cry. In this
intimate documentary, Jones interviews a new, but equally fanatical, fan
base of The Smiths and Morrissey: Latino youths in East Los Angeles.
Making the connection between The Smiths' working-class,
Manchester-raised, ethnic Irish experience and that of the sons and
daughters of Mexican immigrants in Los Angeles, it explores Morrissey's
enduring appeal among the pompadoured denizens of the Inland Empire who,
as one fan puts it, relate to Morrissey because "he always sounds sad
and depressed and lonely – all the good stuff." Screening as part of the
series THE FILMS OF WILLIAM E. JONES
3/2
Reading, Pennsylvania: Berks Filmmakers,Inc
http://berksfilmmakers.org
7:30 pm, Albright College Center for the Arts
IN A LONELY PLACE
In a Lonely Place 1950, 94 min.) by NICOLAS RAY, This film, by one of
Hollywood's greatest directors has been described as deep depiction of
the hell of alcoholism, others have described it as a film "with not
only a cynical view of Hollywood but also one with a central character
that is figured with ambiguity and complexity, from which the film draws
incredibly poignant and intense tension, that is unusual for Hollywood.
Ray's film is one of the finest noir melodramas Hollywood ever produced;
it is a film in which all elements - performance, story, score, lighting
and editing - work in complete concert to realize the emotional weight
of its drama. "- Fiona A. Villella, Senses of Cinema. "… [Bogart] played
one fascinatingly complex character…in a film whose title perfectly
defined Humphrey's own isolation among people. In a Lonely Place gave
him a role that he could play with complexity because the film
character's, the screenwriter's pride in his art, his selfishness, his
drunkenness, his lack of energy stabbed with lightning strokes of
violence, were shared equally by the real Bogart." – Louise Brooks
3/2
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Yerba Buena Center for the Arts, 701 Mission St. (at 3rd St.), San Francisco, CA 94103
AUSTRALIAN AVANT-GARDE: AN HISTORICAL OVERVIEW
curated by Sally Golding, Joel Stern & Danni Zuvela of OtherFilm:
Australian avant-garde film history is characterized by formal
investigation into themes of landscape, alienation and perception. While
their works are in conversation with contemporaneous European and
American filmmakers, experimental filmmakers in Australia have worked
largely in isolation to produce highly developed experiments with split
screens and mattes, optical sound, collage animation and optical
techniques (such as colour separation processes). Using the landscape as
motivation or a formal premise as a starting point, the films in this
program reflect the iconic aesthetics and innovative approaches that
shape Australian avant-garde film history from the early-1960s through
the 1990s. The rare 16mm prints in this program are provided either
directly from the filmmakers themselves or from the National Film &
Sound Archive in Canberra, Australia. (OTHERFILM) Aggy Read: Boobs A Lot
(1968), 3 min. David Perry: Halftone (1966), 1 min. Albie Thoms: Man &
His World (1966), 1 min. Paul Winkler: Bondi (1979), 15 min. George
Gittoes: Rainbow Way (1977), 11 min. Dirk De Bruyn: 223 (1985), 6 min.
Gregory Godhard: Mind's Eye (1998), 5 min. Arthur Cantrill & Corinne
Cantrill: Waterfall (1984), 18 min. » : 4000 Frames: An Eye Opener Film
(1970), 3 min. TICKETS: members: $6 / non-members: $10
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WEDNESDAY, MARCH 3, 2010
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3/3
Boston, Massachusetts: Massachusetts College of Art
http://emulsionalchemy.org
8pm, 621 Huntington Ave.
NEW TO YOU: SOME RECENT AND REALLY OLD WORKS BY ANDREW LAMPERT
"I've slowly started to stop making films, less interested lately in
producing images than moving them. It's no longer a matter of framing
the shot, I'm talking about projecting. Gathering in the dark, together,
is far more important than what we watch. Content is interchangeable,
hardly relevant, I care more about the throw. Something gained in this
loss, and while it hurt for awhile, these were only growing pains; not
killed, stronger. Don't take this introduction as a dismissal of
moviemaking or a disavowal of shadows. Think of it more like a
foreshadowing of the beginning of the end. NEVERTHELESS, tonight's
circus starts with a selection of films spanning early to late, an
over-generous sampling of recently recovered, forever premature footage
by a bored Midwest high school dilettante with super 8 camera. Expect
numerous reels with necessary explanation; context is everything." AL
But wait, Boston, there's more! Expect more contemporary pieces
previously unseen in the state of Massachusetts, including: JACKA SPADES
(a.k.a. GET THIS PICTURE HERE) 2009, Super 8mm, 34 minutes, black and
white, sound. Steve Dalachinsky, with the aid of Yuko Otomo and
cinematographer Andrew Lampert, is given the chance to direct his dream
film. This is not that, but rather the result of what they shot that day
presented in real time as they filmed it. In the end, this is always
what the film was supposed to be; what Steve wanted is another story
heard on the soundtrack of the images gathered within. Shot last
February on the streets of Soho, and mostly edited in-camera, this movie
is never shown the same way twice. JACKA SPADES (a.k.a GET THIS PICTURE
HERE) is the second installment in Lampert's TABLES TURNED trilogy. In
this series, the filmmaker hands over direction of the movie to his
subjects. "I think I always wanted to be the actor, not the director." –
Steve Dalachinsky from the soundtrack.
3/3
New York, New York: Museum of Modern Art
http://www.moma.org
4:00 pm and 7:00 pm, 11 W. 53rd St.
DOCUMENTARY FORTNIGHT 2010
OPEN HOUSE (Diane Nerwen, 2009, 31:00, high definition) Depicting a
neighborhood being torn apart by developers capitalizing on a frenzied
housing market, and property owners desperate to cash in before the
market collapsed, "Open House" documents the transformation of
Williamsburg, Brooklyn.
3/3
New York, New York: The Tank
www.thetanknyc.org
7:30, 354 West 45th Street
ELLéPHANT PRESENTS SPECTACLE DE VARIéTéS
an eclectic program of women filmmakers and video artists from the US
and Europe that have collectively screened and exhibited at festivals
and museums around the world including: Whitney Biennale, Sundance Film
Festival, New York Video Festival, World Wide Video Festival, Danish
Film Institute, Redcat Theater, Locarno Film Festival, Tribeca Film
Festival and the Los Angeles Film Festival. The program shows a broad
spectrum of styles and subject matter from the experimental, dramatic
narrative, fractured fairytales, social satire, and animation to the
conceptual eco-doc. Spectacle De Variétés is a mini-festival of dark,
funny and strange short films & videos. Running time 60 minutes. Ilya
Chaiken, Black Out Andrea Staka, Daleko Erika Yeomans, Boo! Imelda
O'Reilly, Lilly in the Woods Virginie Yassef & Julien Previeux, L'Arbre
Andrea Polli & Chuck Varga, Cloud Car Amber Boardman, 3 animated shorts
Christine Giorgio, The Bitter End
3/3
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
FINISHED
by William E. Jones 1997, 75 minutes, 16mm, color. FINISHED is an
elegiac but analytic portrait of Quebec porn star Alan Lambert (Alain
Lebeau), who graced two dozen California porno films with titles like
BEACH DREAMER and WOLFBOY. Haunted by the image the 25-year-old Lambert
left behind upon his suicide in 1992, Jones borrows from biographical,
documentary, and experimental approaches to perform an emotional autopsy
of a life tragically cut short. FINISHED is a detective story and a love
story, a film noir bathed in sunlight. It's a film of contradictions:
pornographic yet chaste, distanced yet mesmerizing, reticent yet moving.
Screening as part of the series THE FILMS OF WILLIAM E. JONES
3/3
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Dolby Screening Room, 100 Potrero Ave. (at Alameda St.), San Francisco, CA 94103
HEY! A DEAN SNIDER BIRTHDAY CELEBRATION [PART I]
presented in association with New Nothing Cinema, curated & presented by
Douglas Katelus: A dual-cinema birthday celebration for the late
legendary underground San Francisco filmmaker Dean Snider, featuring
rarely screened 35mm works and newly preserved 16mm prints. Somewhere
in-between we might find ourselves venturing from one venue to another
on a large bus with several Mariachi. Between 1979-1992, Dean made over
one-hundred films—many produced in the early 1980s during the first
years of the No Nothing Cinema, a free underground screening venue that
Snider was instrumental in creating. His movies contain the feisty
anarchistic sense of energy that No Nothing represented—sarcastic,
funny, beautiful, sometimes fast—always engaging, even down the very
layers of celluloid in which he hand scratched those initials "D.S." All
the while he created some of the most self-revealing personal films you
may ever have the chance of experiencing. (DOUGLAS KATELUS) Dean Snider:
My Little Baby (1986), 2 min. » : La Mar (1987), 5 min. » : I'm
Beginning to See the Light (1987), 5 min. » : A Very Unfortunate Story
(1987), 3 min. » : All About Eggs (1991), 3 min. » : Friends Along the
Way (1990), 1 min. » : Two More (19??), 3 min. » : The Night Could Last
Forever (1985), 9 min. Free.
3/3
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
8:30pm, New Nothing Cinema, 16 Sherman St. (off Folsom between 6th St. & 7th St.), San Francisco, CA 94103
HEY! A DEAN SNIDER BIRTHDAY CELEBRATION [PART II]
presented in association with New Nothing Cinema, curated & presented by
Douglas Katelus: A dual-cinema birthday celebration for the late
legendary underground San Francisco filmmaker Dean Snider, featuring
rarely screened 35mm works and newly preserved 16mm prints. Somewhere
in-between we might find ourselves venturing from one venue to another
on a large bus with several Mariachi. Between 1979-1992, Dean made over
one-hundred films—many produced in the early 1980s during the first
years of the No Nothing Cinema, a free underground screening venue that
Snider was instrumental in creating. His movies contain the feisty
anarchistic sense of energy that No Nothing represented—sarcastic,
funny, beautiful, sometimes fast—always engaging, even down the very
layers of celluloid in which he hand scratched those initials "D.S." All
the while he created some of the most self-revealing personal films you
may ever have the chance of experiencing. (DOUGLAS KATELUS) Dean Snider:
Hey! (1981), 1/24 sec. » : Bored Members (1981), 2 min. » : Cloud Nine
(1983), 3 min. » : Ish & Vinny (1982), 18 sec. » : Land Without Talk 7
min. » : 1984 (1984), 50 sec. » : Without You, Babe (1989), 6 min. » :
What Goes On (1983), 9 min. » : Wauwatosa (1978), 2 min. » : I'll See Ya
Partner (1984), 36 sec. Free.
3/3
San Francisco, California: New Nothing Cinema
www.sfcinematheque.org
7:30, Dolby Screening Room / New Nothing Cinema
CELEBRATE THE LIFE AND FILMS OF DEAN SNIDER
A BIRTHDAY CELEBRATION FOR DEAN SNIDER 3/3/10 two venues one night!
Showing many of his 35mm and newly preserved 16mm films all in one
night!! 7:30 @ Dolby Screening Room (100 Potrero @ Alemeda) then a bus
will take us to... 8:30 @ New Nothing Cinema (16 Sherman St. between
6th/7th off Folsom) BRATS! BOOZE! MOVIES! BIRTHDAY PARTY!!! feel free to
do some BYOB for the New Nothing portion of the show!
http://www.sfcinematheque.org
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THURSDAY, MARCH 4, 2010
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3/4
Calgary, AB: Calgary Society of Independent Filmmakers
http://www.csif.org
March 4-6, 2010, Plaza Theatre, 1133 Kensington Road NW
18TH ANNUAL $100 FILM FESTIVAL
A three day celebration of film on film presented by the Calgary Society
of Independent Filmmakers. The 18th Annual $100 Film Festival will
showcase the best short Super 8 and 16mm films from Calgary and around
the world. Guest artist Amanda Dawn Christie will present a special
workshop on how she integrates projectors into her experimental
filmmaking. March 4-6, 2010 at the Plaza Theatre, 1133 Kensington Road,
NW. Tickets: $12 general; $10 student, seniors, CSIF members. For more
info call CSIF at 403-205-4747 or e-mail (address suppressed) Festival
website: http://100dollarfilmfestival.org/fest/
3/4
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6p.m., 164 N. State St.
VIDEO AND SOUND FROM TAKESHI MURATA AND ROBERT BEATTY
Takeshi Murata & Robert Beatty in person! Live performance! For the last
six years, artist Takeshi Murata and musician Robert Beatty (Hair
Police, Three Legged Race) have collaborated on a series of visceral
glitch-based animations, setting Murata's psychedelic imagery to
Beatty's hypnotic compositions. Murata's videos range from hand-drawn
animations of fluidly morphing shapes to painterly abstractions of
meticulously hijacked digital code. Beatty employs hacked electronics
and thrift store cast-offs to craft otherworldly sonic narratives.
Together, the duo's electronic alchemy transforms the detritus of
consumer culture into dazzling tapestries of sound and color. This
evening, CATE teams up with experimental music and intermedia series
Lampo to bring you Murata and Beatty in a special screening and
performance. The two will present their work in three sets: a solo
performance by Beatty, a screening of videos by Murata, and a new
audio-visual performance, created especially for this program, by both.
Co-presented by Lampo. Visit www.lampo.org. Takeshi Murata and Robert
Beatty, 2003-10, USA, multiple formats, ca. 90 min.
3/4
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
V.O.
by William E. Jones 2006, 59 minutes, video, color. In a variation on
what DJs call a 'mash-up', Jones combines segments of sound from classic
foreign-language films with scenes from gay porn films produced before
1985, making decisions based upon the length of the segments rather than
their content. The somewhat arbitrary juxtaposition of diverse 'found'
materials often yields surprisingly appropriate results. v. o. suggests
a new narrative space and pays tribute to a former era of gay life and
cinephilia. Screening as part of the series THE FILM OF WILLIAM E. JONES
3/4
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
TEAROOM
y William E. Jones 1962/2007, 56 minutes, 16mm-to-video, color, silent.
TEAROOM consists of footage shot by the police in the course of a
crackdown on public sex in the Midwest. In the summer of 1962, the
Mansfield, Ohio, Police Department photographed men in a restroom,
filming from a closet through a two-way mirror. Their footage was used
in court as evidence against the defendants, all of whom were found
guilty of sodomy, which at that time carried a mandatory minimum
sentence of one year in the state penitentiary. The original footage
came into Jones's possession while he was researching this case for a
documentary project. The unedited scenes of ordinary men of various
races and classes meeting to have sex were so powerful that the director
decided to present it with a minimum of intervention. TEAROOM is a
radical example of film presented 'as found' for the purpose of
circulating historical images that have otherwise been suppressed. &
MANSFIELD 1962 (2006, 9 minutes, video, b&w, silent)
(continued in next email)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.