From: Weekly Listing (email suppressed)
Date: Sat Apr 03 2010 - 07:33:10 PDT
This week [April 3 - 11, 2010] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Everybody dies in Lonely Town" by Andrew T. Cutler
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=417.ann
"Drive" by Mike Celona
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=418.ann
NEW CALLS FOR ENTRIES:
=====================
Basement Media Festival (Cambridge, Massachusetts, USA; Deadline: July 24, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1155.ann
Illuminated Corridor Department of Public Works (oakland, ca, usa; Deadline: April 16, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1156.ann
18th Curtas Vila do Conde / International Film Festival (Vila do Conde, Portugal; Deadline: April 05, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1157.ann
Rencontres Internationales Sciences et Cinémas (RISC) (Marseille (France); Deadline: May 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1158.ann
DEADLINES APPROACHING:
======================
Artists for Studio Tour Program (Chicago, IL; Deadline: April 05, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1108.ann
CologneOFF VI - Let's Celebrate! (Cologne, Germany; Deadline: April 05, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1123.ann
Fargo-Moorhead LGBT FIlm Festival (Fargo, ND, USA; Deadline: April 21, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1129.ann
Wimbledon Shorts 2010 (London, Wimbledon; Deadline: April 14, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1144.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
Festival Miden (Kalamata, Greece; Deadline: April 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1149.ann
Real Light ((touring this fall); Deadline: April 24, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1150.ann
Liaison of Independent Filmmakers of Toronto (LIFT) (Toronto, Ontario, Canada; Deadline: April 19, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1153.ann
Illuminated Corridor Department of Public Works (oakland, ca, usa; Deadline: April 16, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1156.ann
18th Curtas Vila do Conde / International Film Festival (Vila do Conde, Portugal; Deadline: April 05, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1157.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):
==============================
* The Experiment 2: Portraiture [April 3, New York, New York]
* Other Cinema, 4/3: Ecc / Murnau 's Nosferatu + Copyright Criminals + [April 3, San Francisco, California]
* Two Together Two: Jim Mcbride & Stanton Kaye [April 3, San Francisco, California]
* From Ecstasy To Rapture: A Journey Through Spanish Experimental Film [April 3, Washington, DC]
* <B>Catalunya: Poetry of Place</B> Film Series Begins [April 4, Washington, DC]
* Light Echoes Dark: the Films of Julie Murray [April 5, Los Angeles, California]
* Witness To Love: Film and video By Jayce Salloum and Abraham Ravett [April 5, Norman, Oklahoma]
* Unessential Cinema: That's Undertainment! [April 6, New York]
* Manufactured Landscapes [April 6, Reading, Pennsylvania]
* Performance: 21st Century Psychedelic By Potter-Belmar Labs [April 6, San Antonio, TX]
* Everything I Tell You Now Is True: the Short Films of Emily Wardill [April 8, Chicago, Illinois]
* Streets of San Francisco: Filmic Journeys [April 8, San Francisco, California]
* Nonobjective Films, 1920s–1960s [April 9, New York, New York]
* It Came From Kuchar [April 9, New York]
* Taka iimura Program [April 9, New York]
* Films By Lukas Lukasik [April 9, San Francisco, California]
* Optical Poetry: Oskar Fischinger Retrospective [April 9, Seattle, Washington]
* Visual Music [April 9, Seattle, Washington]
* It Came From Kuchar [April 10, New York]
* Kuchar Brothers Program 1 [April 10, New York]
* Kuchar Brothers Program 2 [April 10, New York]
* It Came From Kuchar [April 10, New York]
* Other Cinema, 4/10: Sachs' With Wind In Our Hair + House of Science + [April 10, San Francisco, California]
* Seeing Sound: Mary Ellen Bute Retrospective [April 10, Seattle, Washington]
* Los Angeles Filmforum Presents Julie Murray: Slight Movements [April 11, Los Angeles, California]
* It Came From Kuchar [April 11, New York]
* Kuchar Brothers Program 3 [April 11, New York]
* Kuchar Brothers Program 4 [April 11, New York]
* Unessential Cinema: Depraved Youth [April 11, New York]
* Dreamy Daytime Brunch [April 11, San Francisco, California]
* Jordan Belson: Films Sacred and Profane [April 11, Seattle, Washington]
Events are sorted by CITY within each DATE.
-----------------------
SATURDAY, APRIL 3, 2010
-----------------------
4/3
New York, New York: Maysles Cinema
http://www.mayslesinstitute.org/cinema.html
7pm-10pm, 343 Lenox Avenue, New York, NY, 10027
THE EXPERIMENT 2: PORTRAITURE
'The Experiment' is a quarterly screening event dedicated to the
relationship between experimental and documentary modes of cinema. Our
last screening explored politics of the image with works from Jem Cohen,
Deborah Stratman, and Leslie Thornton. This time around, we have
assembled a diverse collection of films and videos, from both
established and emerging artists, exploring the concept of portraiture
in film. This two-floor event will showcase works both in a traditional
theater setting as well as through gallery-style film and video
installations. A suggested donation bar will be open the entire evening.
Come for the main screening, and then check out the installations
downstairs, or vice-versa! Screenings in Cinema at 7pm and 9pm.
Installation-based film and video screens downstairs in Gallery
continuously 7pm to 10pm. Presenting Artists are Ben Rivers - Origin Of
The Species, Paolo Gioli - Filmarilyn, Albert Maysles - Orson Welles In
Spain, Stan Brakhage - I...Dreaming, Robert Todd - Stable, Kelly Spivey
- Make Them Jump, Marie Losier - Snowbeard, Seth Fragomen - Seance,
David Baker - Ab Ovo, Naren Wilks - Bridge Study, Jay Hudson - S21,
Lorenzo Gattorna - Nessun Dorma, Peter Buntaine - Bushwick, Sean Berman
- Green-Screen Self-Portrait, Greg Vanderveer - Albert Maysles.
4/3
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:00 PM, 992 Valencia St.
OTHER CINEMA, 4/3: ECC / MURNAU 'S NOSFERATU + COPYRIGHT CRIMINALS +
Performed only once before, Evolution Control Committee's radically
eclectic soundscape for FW Murnau's horror classic Nosferatu is a
meticulous mix of soundtracks from other movies (how "Other Cinema" can
you get?)! Iconic/ironic snippets from the classic tracks of The Sound
of Music, Jaws, Dr. No, Star Wars, and dozens of others are DJ'd live
from turntable, transmuted through Trademark G's magical sleight-of-hand
into an uncannily appropriate unified soundtrack! PLUS: Copyright
Criminals, a new doc by Kembrew McLeod and Ben Franzen, examines the
creative and commercial value of musical sampling, including the ongoing
debates about artistic expression and copyright law. Showcased are many
of Hip Hop's legendary figures, like Public Enemy, De La Soul, George
Clinton, Digital Underground, DJ Spooky, Eclectic Method, and Mark
Hosler (of Negativland). PLUS an assemblage of Negativland's own
audio-visual citations. NOTE: Early doors at 7:45, CC at 8, ECC at 9.
*$7.
4/3
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00pm, Yerba Buena Center for the Arts, 701 Mission St. (at 3rd St.), San Francisco, CA 94103
TWO TOGETHER TWO: JIM MCBRIDE & STANTON KAYE
Presented in association with Tosca Cafe & Cabinetic: Stanton Kaye and
Jim McBride in-person! Cinematheque's cinematic pairings from these two
preeminent filmmakers continues with My Girlfriend's Wedding, Jim
McBride's vérité interview with his girlfriend about her pending
marriage to someone else. Together with its short companion piece, the
similarly themed My Son's Wedding to My Sister-in-Law, McBride takes the
"diary film" genre and turns it inside-out. Then he inverts it again.
Thereafter, Stanton Kaye's stunning Brandy in the Wilderness tills a
similar soil for an entirely different crop, cultivating a work that
deliberately distorts the tenuous intersection between fiction and
reality. For viewers that prefer their evening's entertainment to fit
nicely within predefined definitions, beware: Brandy strays well beyond
the conventional borders of narrative or documentary filmmaking.
(JONATHAN MARLOW) Jim McBride: My Girlfriend's Wedding (1969), 60 min. »
: My Son's Wedding to My Sister-in-Law (2008), 9 min. Stanton Kaye:
Brandy in the Wilderness (1971), 87 min. TICKETS: members: $6 /
non-members: $10
4/3
Washington, DC: National Gallery of Art
http://www.nga.gov
2:00 p.m., National Gallery of Art, East Building Auditorium
FROM ECSTASY TO RAPTURE: A JOURNEY THROUGH SPANISH EXPERIMENTAL FILM
An unprecedented retrospective of Spanish avant-garde cinema of the last
50 years, From Ecstasy to Rapture consists of six programs arranged by
theme and technique, in archival prints and preservation video
transfers. Presented as part of the Preview Spain: Arts & Culture '10
program and through the cooperation of the Embassy of Spain, Spain–USA
Foundation, Filmoteca de Catalunya, and Centre de Cultura Contemporania
de Barcelona. Documents/Itineraries April 3 at 2:00 p.m. A program of
shorts and réalités including the work of visionary filmmakers José Val
del Omar and José Luis Guerín, architect Gabriel Blanco, and artists
Benet Rossell, Antoni Miralda, and Virginia García del Pino. (Total
running time 85 minutes). Appropriations/Grand Super-8 April 3 at 4:00
p.m. An eclectic mix of Super-8 mm shorts and 16 mm found-footage films
(transferred to video) contrasts the work of film artists from divergent
generations: the 1970s avant-garde and younger filmmakers active during
the last decade. Included are works by Toni Serra, Jesús Pérez-Miranda,
Eugeni Bonet, Marcel Pey, Luis Cerveró, Juan Bufill, Lope Serrano Sol,
Maximiliano Viale, Oriol Sánchez, Manuel Huerga, and others. (Total
running time 70 minutes)
www.nga.gov/programs/film/spanishexperimental.htm#documents
---------------------
SUNDAY, APRIL 4, 2010
---------------------
4/4
Washington, DC: National Gallery of Art
http://www.nga.gov
4:00 p.m., National Gallery of Art, East Building Auditorium
CATALUNYA: POETRY OF PLACE FILM SERIES BEGINS
La plaça del diamant preceded by Barcelona, Perla del Mediterraneo and
Barcelona Park Adapting a celebrated 1962 novel by Catalan writer and
midcentury intellectual Mercè Rodoreda, La plaça del diamant portrays
the prolonged transformation of a working-class urban woman (Sílvia
Munt) as she endures the tragedy of the Civil War. (Francesc Betriu,
1982, 35 mm, Catalan with subtitles, 111 minutes) The first known
travelogue of the city, Barcelona, Perla del Mediterraneo features
scenes of the port, Catalonia Square, Gràcia Avenue, Gaudí's Park Güell,
and the Tibidabo. (1912–1913, 35 mm, silent, 9 minutes) An early réalité
by the legendary Segundo de Chomón, whose later optical effects were to
influence Dalí and Buñuel, Barcelona Park captures the charm of
Ciutadella Park. (1911, 35 mm, silent, 3 minutes) This series continues
through June 13 www.nga.gov/programs/film/catalunya.htm#laplaca
---------------------
MONDAY, APRIL 5, 2010
---------------------
4/5
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012
LIGHT ECHOES DARK: THE FILMS OF JULIE MURRAY
Los Angeles premieres Irish-born, New York-based filmmaker Julie Murray
combines found and original footage to conjure strange and paradoxical
universes resonant with ambiguous meanings. Mystery and menace lurk
equally amid the eloquence of her visual rhymes and word
associations—whether in repeated images of mouth-to-mouth resuscitation
and the Heimlich maneuver (Conscious, 1993, 10 min.), shots of trees
growing among crumbled brick ruins (Orchard, 2004, 9 min.), views from
an aerial tram leaving Manhattan (If You Stand With Your Back to the
Slowing of the Speed of Light in Water, 1997, 18 min.), or captioned
excerpts from an instructional movie for the deaf (I Began to Wish,
2003, 5 min.). Comprising all 16mm films, this program features Murray's
latest work, ELEMENTs (2008, 7 min.) In person: Julie Murray
4/5
Norman, Oklahoma: Meacham Auditorium in the Student Union
5-7pm, University of Oklahoma
WITNESS TO LOVE: FILM AND VIDEO BY JAYCE SALLOUM AND ABRAHAM RAVETT
Side by side, these two works of experimental non-fiction, one in video
and one in film, bring together two of the most accomplished artists
working today in experimental media. Salloum and Ravett will each
present work in person during the same event Monday evening.
----------------------
TUESDAY, APRIL 6, 2010
----------------------
4/6
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 second Avenue
UNESSENTIAL CINEMA: THAT'S UNDERTAINMENT!
UNESSENTIAL CINEMA: THAT'S UNDERTAINMENT! with Skip Elsheimer, Andrew
Lampert, Stephen Parr, and Greg Pierce What makes an image moving? We
tend to watch and re-watch those films that speak to us, which contain a
captivating story or an outright beauty that is enhanced by repeated
viewing. Rarely do we return to mundane movies brimming with insipid
imagery or sleep-inducing scenarios. That is, until now. In true
Unessential Cinema fashion, film collectors/archivists/fanatics Skip
Elsheimer, Andrew Lampert, Stephen Parr, and Greg Pierce have each
sifted through their vast reservoir of reels to cull favorite footage
that others might term tedious, difficult, dreary, lackluster, lifeless,
or even uninteresting. But it just ain't so. Tonight only, our
bleary-eyed presenters shall unleash their findings in a 4-projector
expanded cinema foray into the very heart of dullness. Anthology's large
Courthouse Theater screen will be divided into quadrants for each of our
presenters to project their chosen films simultaneously. The only
predetermined rule is that all the selected footage must be truly,
deeply cherished. Prepare yourself for: ADDITION AND MULTIPLICATION
USING PLASTIC WASHERS (1965) [DORM FIRE] MAGNET LABORATORY (1959)
UNTITLED & more A show this big and boring only happens once in a
lifetime. You'll be underwhelmed!
4/6
Reading, Pennsylvania: Berks Filmmakers,Inc
http://berksfilmmakers.org
7:30 pm, Albright College Center for the Arts
MANUFACTURED LANDSCAPES
Manufactured Landscapes (2006, 80 min.) by Jennifer Baichwal. The famous
Canadian photographer, Andrew Burtynsky "and an indefinite number of
helpers trot across China taking glossy, large-format, generally
long-view color photographs of factories, welding sites and recycling
centers, with an abbreviated side trip to the Bangladesh coast where
young men disassemble oil tankers, at times ankle-deep in sludge….
Sensitively shot in 16-millimeter film by Peter Mettler, "Manufactured
Landscapes" (which is also the name of a 2003 book of Mr. Burtynsky's
photographs) is partly a Great Man documentary, a record of an artist
immortalized at the moment of creation: point, shoot, viola! Rather more
interestingly, at times, it also appears to be a rather tentative,
perhaps even unconscious, critique of that same artist and his vision."-
Manohla Dargis, New York Times
4/6
San Antonio, TX: Potter-Belmar Labs
http://potterbelmar.org/now
7 PM, Auditorium, San Antonio Museum of Art, 200 West Jones Avenue
PERFORMANCE: 21ST CENTURY PSYCHEDELIC BY POTTER-BELMAR LABS
Potter-Belmar Labs brings the psychedelic light shows of the 60s to the
Post-Modern age with this live performance of moving image and sound,
utilizing laptops and other electronics. Collaborating since 1999,
artists Leslie Raymond and Jason Jay Stevens have performed live cinema
across North America, in addition to exhibiting interactive installation
art and single-channel experimental video. In keeping with the flavor of
the San Antonio Museum of Art's Psychedelic exhibition, PBL will perform
their handcrafted audiovisual hallucinations, offering colorful optical
fantasies and sound spaces. Free event!
-----------------------
THURSDAY, APRIL 8, 2010
-----------------------
4/8
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6p.m., 164 N. State St.
EVERYTHING I TELL YOU NOW IS TRUE: THE SHORT FILMS OF EMILY WARDILL
Emily Wardill in person! The films of British artist Emily Wardill are
brilliant cinematic labyrinths. Visually striking and playfully
rigorous, they draw upon an array of sources--underground theater,
psychoanalytic case studies, the writings of Friedrich Nietzsche and
Jacques Rancière, and even the game logic of Nintendo Wii--to pose
fundamental questions about vision, representation, and media and their
roles in the ways we come to know ourselves. Wardill has been the
recipient of much recent critical acclaim--Tate Modern film curator
Stuart Comer rated her film The Diamond (Descartes' Daughter) (2008) as
one of his top ten picks of 2008 and the Guardian newspaper deemed her
its "artist of the week." In this special program, Wardill presents five
of her short films, all of which are Chicago premieres: Born Winged
Animals and Honey Gatherers of the Soul (2005), Basking in What Feels
Like 'An Ocean of Grace' I Soon Realise That I'm Not Looking at It, But
Rather I Am It, Recognising Myself (2006), Ben (2007), Sick Serena and
Dregs and Wreck and Wreck (2007), and The Diamond (Descartes' Daughter).
Co-presented by CATE and Refracted Lens. Emily Wardill, 2005-08, UK,
16mm, ca. 60 min (plus discussion).
4/8
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
7:00 pm, 151 Third Street
STREETS OF SAN FRANCISCO: FILMIC JOURNEYS
Visions of a City, Lawrence Jordan, 1957/78, 8 min., 16mm; North Beach,
Henry Hills, 1978, 12 min., 16mm; Motel L, Dean Snider, 1981, 2.5 min.,
16mm; Secrets from the Street: No Disclosure, Martha Rosler, 1980, 12.2
min., DVD; Following an Orange, Felipe Dulzaides, 1999, 1.4 min., DVD;
Woodward's Gardens, Katherin McInnis, 2007, 10 min., mini-DV; Otherwise
Unexplained Fires, Hollis Frampton, 1976, 13.5 min., 16mm; Untitled No.
4, Greg Sharits, n.d., 9.5 min., R8mm. Throughout the 75th anniversary
exhibitions, artists take up San Francisco's cityscapes as subject and
muse. This program of experimental films and videos from the late 1950s
to the present offers evocative records of individual experiences of
street life. These psychogeographic tours look at North Beach's Broadway
strip and the window reflections of a beat poet protagonist. We examine
the Mission's storefronts for evidence of larger neighborhood shifts,
from gentrification in the 1980s to the current neighborhood use of the
former site of a 19th-century amusement park. $5 general; free for
SFMOMA members or with museum admission (requires a free ticket, which
can be picked up in the Haas Atrium).
---------------------
FRIDAY, APRIL 9, 2010
---------------------
4/9
New York, New York: Guggenheim Museum
http://www.guggenheim.org
11 am, 1071 Fifth Avenue, Sackler Center, New Media Theatre
NONOBJECTIVE FILMS, 1920S–1960S
Nonobjective Films, 1920s–1960s, A program of artists supported by Hilla
Rebay. Organized by the Center for Visual Music. An ongoing series,
selected Fridays through May 21. In the 1940s, curator and founding
director Hilla Rebay planned to establish a film center at the Museum of
Non-Objective Painting, which later became the Solomon R. Guggenheim
Museum, to collect and promote nonobjective films. She awarded grants to
artists and presented programs of short experimental films. With the
help of Oskar Fischinger, an elaborate film center was planned to
include studios and planetarium-style projection capability. Although
unrealized, Rebay's support enabled many filmmakers to continue their
work in abstract film. This program presents short films by filmmakers
whose work was screened and/or supported by Rebay, including Mary Ellen
Bute, Charles Dockum, Oskar Fischinger, Dwinell Grant, Norman McLaren,
and Hans Richter. 35mm and 16mm prints. Free with museum admission. Full
title list at:
http://www.guggenheim.org/new-york/education/adult-and-academic-programs
/film
4/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 and 9:00 pm, 32 2nd Avenue
IT CAME FROM KUCHAR
IT CAME FROM KUCHAR by Jennifer M. Kroot 2009, 86 minutes, video.
Distributed by IndiePix; special thanks to Jennifer Kroot, Krysanne
Katsoolis (Cactus 3), and Michael Tuckman (mTuckman media). NEW YORK
THEATRICAL PREMIERE RUN! There's no shortage of definitive documentaries
about the key figures of commercial cinema: filmmakers from Orson Welles
and John Ford to Val Lewton and Howard Hawks have all been treated to
in-depth studies of their lives and careers. In a perfect world, we'd
also have docs devoted to filmmakers like Ron Rice, Curtis Harrington,
Owen Land, and the Kuchar brothers. But wait, the world just got a
little more perfect (and not a moment too soon) thanks to Jennifer M.
Kroot and her lavish, hilarious, and luminary-filled feature IT CAME
FROM KUCHAR. Precocious twin brothers George and Mike Kuchar were raised
in the Bronx, where they began making ultra-low-budget, feverishly
inventive movies as kids in the mid-50s. Whether working in film or
video, together or alone, the world-renowned Kuchars are rightfully
revered for their ribald humor, over-the-top ingenuity, incredible
camera work, and prolific output. IT CAME FROM KUCHAR is bursting with
hysterical and touching footage of the Kuchars at work and play,
overflowing with eye-popping excerpts from countless films, and
abounding with commentary from Kuchar devotees including John Waters,
Buck Henry, Guy Maddin, and Anthology's own Andrew Lampert. In short, IT
CAME FROM KUCHAR is the Kuchar documentary we've all been dreaming of.
Now it's time for Hollywood to come through with a big-budget bio-pic…
"Gleefully piles on everything anyone could want in a documentary on the
fabulous Kuchar brothers, whose deliriously campy zero-budget melodramas
enlivened many otherwise somber evenings of 60s underground cinema.
Critics and aficionados seek to distill the essence of the twins' work,
while clips from the films in question unspool in a fever dream of
compelling non sequiturs. Meanwhile, George and Mike Kuchar themselves
hold forth unstoppably. A must-see for filmmakers of all persuasions."
–Ronnie Scheib, VARIETY
4/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
TAKA IIMURA PROGRAM
TAKA IIMURA: THREE FILM-PERFORMANCES ANMA (THE MASSEURS) (1963-2007, 20
minutes, 8mm-to-DVD, b&w) With Tatsumi Hijikata and Kazuo Ohno; music by
Tomomi Adachi. Featuring a performance by the creator of Butoh dance,
Tatsumi Hijikata, in the 1960s, this film was conceived not only as a
dance document but also as a 'Cine-Dance', as coined by Iimura to denote
a choreography with camera. "The objective of ANMA is less to record the
event as it happened, than to embody it; for the shots in the film are
mimetic traces of the filmmaker and his movements." –Aaron Michael
Kerner, San Francisco State University PERFORMANCE / MYSELF (or VIDEO
IDENTITY) (1972-95, 29 minutes, DVD, b&w/color) With Takahiko Iimura and
Akiko Iimura. Consists of 7 pieces: SELF IDENTITY (1972, 1-minute
excerpt), DOUBLE IDENTITY (1979, 1.5-minute excerpt), DOUBLE PORTRAIT
(1973-87, 5 minutes), I LOVE YOU (1973-87, 4.5 minutes), THIS IS A
CAMERA WHICH SHOOTS THIS (1982-95, 5 minutes), AS I SEE YOU YOU SEE ME
(1990-95, 7 minutes), and I AM A VIEWER, YOU ARE A VIEWER (1981, 4
minutes). "This DVD is produced with myself as the sole object as well
as the material of the performance, with the exception of two videos
with Akiko Iimura. The video is not just a document of the performance
but a work of video-art made specifically for video, utilizing the video
system, including camera and monitor, as a part of the performance."
–T.I. TALKING PICTURE (THE STRUCTURE OF FILM VIEWING) (1981-2009, 23
minutes, 2 films on DVD, b&w/color) "In this collection of videos,
TALKING PICTURE (THE STRUCTURE OF FILM VIEWING) and SHADOWMAN (THE
STRUCTURE OF SEEING AND HEARING), Iimura presents a series of
mind-twisting videos, meditating on the experience of watching
film/video, and of seeing and being seen. …Iimura also draws some
tantalizing parallels between some of these Western philosophical
inquiries with Asian concepts of representation." –Aaron Michael Kerner,
San Francisco State University
4/9
San Francisco, California: Artists Television Access
http://www.atasite.org/
8PM $6, 992 Valencia St. at 21st
FILMS BY LUKAS LUKASIK
Luka Luka aka. Lukas Lukasik is an experimental filmmaker, performer,
festivals curator, fashion designer, installation artists, playwright,
poet and co-founder of "Mov3m3nt". His films has been screened in
Island, Poland, Russia, Spain, France, Great Britain and all over US.
Plays of his has been performed mostly in California and New Mexico.
Experiments with hand processing film, unconventional characters,
shocking Installations, wild variety of performances and global events
brought him grooviness and harmony in Bay Aria where he has been living
for 4 years. The Show Statistics: 3 of showing films were shot at ATA.
In 6 films Camilla Stenmark (ata volunteer) is a SuperStar. Logistics:
FILMS, VIDEO, SHADOW Performance, LIGHT SHOW by Lukas Lukasik. +
Filmmakers Douglas Katelus and Sam Manera will present a piece each.
4/9
Seattle, Washington: at Northwest Film Forum
http://www.centerforvisualmusic.org
8 pm, at Northwest Film Forum, 1515 12th Ave
OPTICAL POETRY: OSKAR FISCHINGER RETROSPECTIVE
Presented at Northwest Film Forum's Visual Music: Sensory Cinema
1920s-70s special series, in association with Center for Visual Music
and The Sprocket Society. "Decades before computer graphics, before
music videos, even before "Fantasia" (the 1940 version), there were the
abstract animated films of Oskar Fischinger (1900-1967), master of
"absolute" or nonobjective filmmaking. He was cinema's Kandinsky, an
animator who, beginning in the 1920's in Germany, created exquisite
"visual music" using geometric patterns and shapes choreographed tightly
to classical music and jazz." (John Canemaker, New York Times). CVM's
Fischinger Retrospective includes 35mm prints of his classic abstract
animated films, including Spirals, Spiritual Constructions, Walking from
Munich to Berlin, Kreise (Circles) (1933), Composition in Blue (1935),
Studies nr. 5, 6 and 7; Allegretto (1936-1943), Radio Dynamics (1942),
Motion Painting No. 1 (1947), and others. This special presentation will
also feature William Moritz's Cinemascope Recreation version of R-1, A
Form-Play, Fischinger's 1920s multiple-projection performance. Program
includes prints preserved by Center for Visual Music, Academy Film
Archive and Fischinger Archive, with the support of Film Foundation,
Sony, Cinémathèque québécoise and Deutsches Filmmuseum. Ticketing
through NWFF. Series website is at http://sensorycinema.org/
4/9
Seattle, Washington: Northwest Film Forum
http://www.nwfilmforum.org
See website, 1515 12th Ave (at Pike)
VISUAL MUSIC
Visual Music Sensory Cinema 1920s-70 APRIL 9-14, 2010 Northwest Film
Forum and The Sprocket Society are proud to present this special series
celebrating the history of Visual Music. Over the past century, there
have been a number of prescient artists who've approached cinema as a
tool for merging visual art and music in order to create a new
synaesthetic art form and explore uncharted areas of experience. Through
a vibrant history of cinematic experiments, these pioneers have been
inventing the concepts, aesthetics, techniques and technologies on which
our modern image-and-sound culture is based. Visual Music is a rare
opportunity to see restored film prints of work by such master animators
as Oskar Fischinger, Mary Ellen Bute, Jordan Belson and Robert Breer on
the big screen. In addition, we'll host a panel discussion on Seattle's
own history of visual music in the 1960s and early 70s. Series website:
http://www.nwfilmforum.org/live/page/series/1237 Curated by Peter Lucas
Special thanks to the Center For Visual Music, Cindy Keefer, Cecile
Starr, Spencer Sundell and Alex Bush. This program is made possible by a
grant from the National Endowment For The Arts.
------------------------
SATURDAY, APRIL 10, 2010
------------------------
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3, 5 and 7 pm, 32 2nd Avenue
IT CAME FROM KUCHAR
See description for April 9th, 7:00 pm.
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue
KUCHAR BROTHERS PROGRAM 1
KUCHAR 8MM PROGRAM 1 All films preserved with support from the National
Film Preservation Foundation. TOOTSIES IN AUTUMN (1963, 15 minutes,
8mm-to-16mm, sound on CD) Mike's cautionary tale about past-their-prime
thespians caught up in a typically Kucharian vortex of madness. MOUNTAIN
VACATIONS (1962, 15 minutes, 8mm-to-16mm, silent) Also known as CATSKILL
COOL CATS, this mysterious reel has never appeared in any Kuchar
filmography. George recalls that this vacation destination was the
easiest place to reach by bus from the Bronx. THE NAKED AND THE NUDE
(1957, 36 minutes, 8mm-to-16mm, sound on CD) The oldest surviving Kuchar
mini-epic. "Big…Rousing…Memorable! The incredible war saga of our own
boys in a Jap-infested jungle in the Botanical Gardens. Hear Lloyd
Thorner sing the title song. You'll come out whistling from both ends."
–G.K. A REEL OF HOME MOVIES (1959-1961, 25 minutes, 8mm-to-16mm, silent)
An eclectic compilation of home movies and early cinematic experiments.
"From the age of 12 onward until 17 (the restless years) the Kuchar
brothers lived life to the fullest and tasted the spices of the lower
class, the sugar of the bourgeoisie and the kasha of the jet set. At
this time their films were seldom longer than four minutes." –G.K. Total
running time: ca.
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:45 pm, 32 2nd Avenue
KUCHAR BROTHERS PROGRAM 2
KUCHAR 8MM PROGRAM 2 All films preserved with support from the National
Film Preservation Foundation. PUSSY ON A HOT TIN ROOF (1961, 14 minutes,
8mm-to-16mm, sound on CD) The salacious short that caused the Kuchars'
banishment from meetings of the New York Eight Millimeter Motion Picture
Club. "It glows with the embers of desire! It smokes with the revelation
of men and women longing for robust temptations that will make them
sizzle into maturity with a furnace-blast of unrestrained animalism. A
film for young and old to enjoy." –G.K. LUST FOR ECSTASY: A DRAMA OF
OBSESSIONS IN THE LANGUAGE OF SENSATIONALISM (1963, 52 minutes,
8mm-to-16mm, sound on CD) My most ambitious attempt since my last film….
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, sound on CD) 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
intermingling in the squalor of the Lower East Side. Total running time:
ca. 105 minutes.
4/10
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
IT CAME FROM KUCHAR
See description for April 9th, 7:00 pm.
4/10
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St.
OTHER CINEMA, 4/10: SACHS' WITH WIND IN OUR HAIR + HOUSE OF SCIENCE +
Inspired by the stories of Argentine writer Julio Cortazar, yet blended
with the realities of contemporary Latin America, here's the world debut
of With the Wind in Our Hair, Lynne Sachs' (in person) experimental
narrative about four girls discovering themselves through a fascination
with the trains that pass by their house. A magic-realist tale of
early-teen anticipation and disappointment, the 42-min. lyric is
circumscribed by a period of profound Argentine sociopolitical unrest.
Shot with 16mm, Super 8mm, and Regular 8mm film and video, the rites of
passage proceed from train tracks to sidewalks, into costume stores,
kitchens, and into backyards in the heart of today's Buenos Aires. PLUS:
In her House of Science: A Museum of False Facts (1991), Sachs suggests
that the mind/body split so characteristic of Western thought is
particularly troubling for women, who may feel themselves moving between
the territories of the film's title—private, public, and idealized
space—without wholly inhabiting any of them. Conceptions of Woman are
explored through home movies, personal reminiscences, staged scenes,
found-footage and voice-over. ALSO Lynne's Atalanta: 32 Years Later;
Noa, Noa; and Photograph of Wind.
4/10
Seattle, Washington: at Northwest Film Forum
http://www.centerforvisualmusic.org
8 pm, at Northwest Film Forum, 1515 12th Ave
SEEING SOUND: MARY ELLEN BUTE RETROSPECTIVE
Presented at Northwest Film Forum and The Sprocket Society's Visual
Music: Sensory Cinema 1920s-70s special series, in association with
Center for Visual Music and Cecile Starr. 16mm prints. Program
introduced by Cindy Keefer, Director of the Center For Visual Music.
This retrospective program features Bute's pioneering abstract
animations, from Rhythm in Light (1934) to later works such as Mood
Contrasts (1956), an early use of oscilloscope patterns. The program
will be preceded by a short, work-in-progress documentary on Bute, made
by Cecile Starr with Kit Basquin and Larry Mollot (on video). American
filmmaker Mary Ellen Bute (1906-1983) is an important and often
overlooked pioneer of visual music and electronic art. Beginning in the
1930s, Bute produced short films which translated music — often
classical music by the likes of Bach and Shostakovich — into
choreographed shapes, ever-changing lights and shadows, brilliant
colorful forms, and elegant design. Critic and curator Ed Halter has
called her films "a marriage of high modernism and Merrie Melodies."
Although little-known today, many of her films reached wide audiences at
the time through screenings before feature films at Radio City Music
Hall and movie theaters around the country. Series website is at
http://sensorycinema.org/
----------------------
SUNDAY, APRIL 11, 2010
----------------------
4/11
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
LOS ANGELES FILMFORUM PRESENTS JULIE MURRAY: SLIGHT MOVEMENTS
One of the highlights of 2004 for us was our evening with Julie Murray,
thrilling us with the delicate experiments and natural wonders of her
films and videos, astonishing at every turn. They sustain with a
meticulous interweaving of found and original footage and dynamic
cinematic manipulations. And then she charms the hell out of us with her
expertise and Irish brogue. Filmforum is delighted to host again one of
the finest filmmakers of today with works new and old, including DETROIT
PARK (2004, digital video, 6 mins), ELEMENTS (2008, 16mm, sound, 7
mins), YSBRYD (2008, digital video, 8 mins), MICROMOTH. (2000, 16mm,
sound, 6 mins), CONSCIOUS (1993, 16mm, silent, 9 mins), DELIQUIUM (2004,
16mm, sound, 15 mins (but represents 8oo years)), and more.
4/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3, 5, 7 and 9 pm, 32 2nd Avenue
IT CAME FROM KUCHAR
See description for April 9th, 7:00 pm.
4/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:15 pm, 32 2nd Avenue
KUCHAR BROTHERS PROGRAM 3
All films preserved by Anthology Film Archives through the Avant-Garde
Masters program funded by the Film Foundation and administered by the
National Film Preservation Foundation. Special thanks to Cineric, Inc.
THE THIEF & THE STRIPPER (1959, 25 minutes, 8mm-to-16mm, sound) Dares to
lay bare the naked carcass of a generation gone mad with moral decay.
BORN OF THE WIND (1962, 24 minutes, 8mm-to-16mm, sound) "A tender and
realistic story of a scientist who falls in love with a mummy he has
restored to life… 2,000 years as a mummy couldn't quench her thirst for
love!" –G.K. A TOWN CALLED TEMPEST (1963, 33 minutes, 8mm-to-16mm,
sound) Rarely has the cinema equaled such a spectacle! Seldom have
movies probed so deeply into the rotten core of hypocrisy and weakness!
SYLVIA'S PROMISE (ca. 1962, 9 minutes, 8mm-to-16mm, sound) Love comes in
all sizes, but in this case love needs to diet! Sylvia makes a promise,
but can she keep it? Total running time: ca. 95 minutes.
4/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:15 pm, 32 2nd Avenue
KUCHAR BROTHERS PROGRAM 4
All films preserved by Anthology Film Archives through the Avant-Garde
Masters program funded by the Film Foundation and administered by the
National Film Preservation Foundation. Special thanks to Cineric, Inc. A
WOMAN DISTRESSED (1962, 12 minutes, 8mm-to-16mm, sound) Pre-dating SHOCK
CORRIDOR, the Kuchars bring us this tantalizing tale of the inner
workings of a very, very insane asylum. NIGHT OF THE BOMB (1962, 18
minutes, 8mm-to-16mm, sound) Teenage lust and deranged delinquence
combine to create a cautionary tale for the ages. The Chernobyl of
Comedy! THE CONFESSIONS OF BABETTE (1963, 15 minutes, 8mm-to-16mm,
sound) An early masterpiece by Mike Kuchar in which Babette tells all,
leaving no turgid stone unturned. ANITA NEEDS ME (1963, 16 minutes,
8mm-to-16mm, sound) "All the horrors and guilt of the human mind
exposed! It reaches deep into the workings of a woman's cravings. Your
emotions will be squeezed." –G.K. I WAS A TEENAGE RUMPOT (1960, 10
minutes, 8mm-to-16mm, sound) George and Mike here stumbled upon
something big: their names were Arline, Edie, and Harry. A documentary
about people like you and me, people with a zest for life. THE SLASHER
(1958, 21 minutes, 8mm-to-16mm, sound) An insane, deformed killer stalks
the grounds of a resort house, bringing sudden violence to those of easy
virtue and godlessness. Total running time: ca. 95 min
4/11
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
UNESSENTIAL CINEMA: DEPRAVED YOUTH
ZAMPANO'S PLAYHOUSE PRESENTS: DEPRAVED YOUTH 1953-1974 A few years back
Albert Steg, a film collector from Cambridge, MA, left his first career
teaching writing and English literature to not-so-troubled teens for the
greener pastures of film preservation and archiving. Today, he is on the
Board of Directors of the Center for Home Movies and freelances
developing FileMaker Pro management solutions for people who like to
organize things. And this evening he will be at Anthology to host a
special edition of his wonderfully raucous 'Zampano's Playhouse' series.
Albert's shows always include the very best of his ever-growing
collection of educational, industrial, ephemeral, and 'blue' movies.
DEPRAVED YOUTH 1953-1974 is a roughly chronological program featuring
short films originally intended for school audiences. Bedeviled
educators have long enlisted frugal filmmakers to help them tame the
unruly spirit of adolescence, in the process leaving behind a remarkably
rich, often cruel, occasionally hysterical visual record of fears and
strategies for confronting them. Tonight's screening readily
demonstrates the philosophical transition from a 1950s "straighten up
and fly right" ethos to a groovier, more sympathetic late-60s approach
that attempted to reveal the inner life of the perennially "troubled
teen." Poor teenagers…will they ever be understood? And if the
assortment of tantalizing titles listed below isn't enough, the program
will be further enlivened with period advertisements and quirky shorts!
VANDALISM (1953, 10 minutes, 16mm) Sid Davis lays bare the threat of
anti-social youths. POSTURE HABITS (1963, 10 minutes, 16mm) If only they
stood up straight, that would be a start. A CHILD WHO CHEATS (ca. 1968,
9 minutes, 16mm) The apple never falls far from the tree. VERBAL AND
NON-VERBAL RESPONSES (1968, 7 minutes, 16mm) Teachers learn how to
modulate their tone for greater effectiveness. CAUGHT IN A RIP-OFF
(1974, 16 minutes, 16mm) A first-person narrative of wounded cynicism
and shame. LOPSIDELAND (1971, 5 minutes, 16mm) In California, not even
the camera stands up straight. THE DAY THAT SANG AND CRIED (1969, 27
minutes, 16mm) Find out why, in this cheesy but surprisingly evocative
"coming-of-age" film. Total running time: 90 minutes.
4/11
San Francisco, California: Artists Television Access
http://www.atasite.org/
11AM-6PM $6, 992 Valencia St. at 21st
DREAMY DAYTIME BRUNCH
A.T.A. Gallery presents a dreamy daytime event in cooperation with Om
Shan Tea House and S.P.A.Z. With live electronics and various 4D
phantasmagoria, the program will include performances by: Nommo Ogo,
Craig Baldwin, Harro versus Laskfar Vortok, and weiRdos. Awesome organic
vegan cuisine and various fine teas provided by Om Shan Tea House. With
DJ sets by: Fluorescent Grey, Oshan, Anesthetist, and Muerto Zoke.
4/11
Seattle, Washington: at Northwest Film Forum
http://www.centerforvisualmusic.org
8 pm, at Northwest Film Forum, 1515 12th Ave
JORDAN BELSON: FILMS SACRED AND PROFANE
Part of Northwest Film Forum/Sprocket Society's Visual Music: Sensory
Cinema 1920s-1970s special series. Presented in association with Center
for Visual Music. Introduced by Cindy Keefer, Director of the Center For
Visual Music A very special program featuring rarely-seen works,
including Allures (1961), Samadhi (1967), a newly-preserved print of
Chakra (1972), Light (1973), Music of the Spheres (1977/2002), Epilogue
(2005), and a very rare, little-seen 1952 film. 16mm/video. Filmmaker
and artist Jordan Belson has created some of the most moving, ethereal
works of visual music. After seeing the films of Oskar Fischinger,
Norman McLaren and Hans Richter at the Art in Cinema series, he was
inspired to make what have been called "cinematic paintings." From
1957-59, Belson collaborated with composer Henry Jacobs on the historic
Vortex Concerts, which combined the latest electronic music with moving
visual abstractions projected on the dome of Morrison Planetarium in San
Francisco. Belson then began making what would become an astonishing
body of over 30 abstract films that are, as curator Cindy Keefer has
described, "richly woven with cosmological imagery, exploring
consciousness, transcendence, and the nature of light itself." He also
produced special effects for the film The Right Stuff (1983), and
continues making fine art and films today. Series website for Visual
Music special series at NWFF is at http://sensorycinema.org/. For more
about Belson visit CVM's research pages at
www.centerforvisualmusic.org/Belson
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__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.