From: Pip Chodorov (email suppressed)
Date: Mon Oct 25 2010 - 11:34:25 PDT
Hi Scott,
I did see it now.
Thanks for resending!
Pip
At 11:26 -0700 25/10/10, Scott Stark wrote:
>Hi Pip, I still haven't seen the weekly listing
>appear. Any idea why? I sent it from the
>usually email email suppressed, which
>has always worked in the past.
>
>I'm copying the entire contents below if you want to send it yourself.
>
>Scott
>
>SENDING AGAIN; apparently the last email didn't
>get through to Framworks. -- ss
>
>To subscribe/unsubscribe to the weekly listing, go to
>http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
>or send an email to (address suppressed)-beam.net.
>
>Enter your announcements (calls for entries, new work, screenings,
>jobs, items for sale, etc.) at:
>
>http://www.hi-beam.net/cgi-bin/ann.pl
>
>NEW FILM/VIDEO: NON-FEATURE:
>============================
>"Tone Rose: Simultaneous Opposites #52" by Robert Edgar
> http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=437.ann
>"Wasteland Utopias" by David Sherman
> http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=121.ann
>"Free Radicals: A History of Experimental Film" by Pip Chodorov
> http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=122.ann
>
>MISCELLANEOUS:
>==============
>Hand Processing Resources
> http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=116.ann
>
>NEW CALLS FOR ENTRIES:
>=====================
>30th Black Maria Film + Video Festival (Jersey
>City, New Jersey, USA; Deadline: December 03,
>2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1203.ann
>Fermynwoods Online Open (Thrapston, England; Deadline: November 08, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1228.ann
>Magmart | international videoart festival (Italy; Deadline: February 28, 2011)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1229.ann
>Appropriation Alliance Critical Remix Festival
>(Fresno, CA, USA; Deadline: December 20, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1230.ann
>Migrating Forms (New York, NY, USA; Deadline: February 15, 2011)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1231.ann
>Ann Arbor Film Festival (Ann Arbor, MI USA; Deadline: November 04, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1232.ann
>
>DEADLINES APPROACHING:
>======================
>MONO NO AWARE IV (Brooklyn, NY. USA; Deadline: November 05, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1195.ann
>The Indie Fest (La Jolla, California, USA; Deadline: October 29, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1201.ann
>Screening @ High Concept Laboratories (Chicago,
>IL, USA; Deadline: October 23, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1206.ann
>Images Festival (Toronto, Ontario, Canada; Deadline: October 29, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1207.ann
>The Accolade Competition (La Jolla, CA, USA; Deadline: November 19, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1209.ann
>Cambridge Super 8 Film Festival (Cambridge, UK; Deadline: November 27, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1215.ann
>The Journal of Short Film (Columbus, OH, USA; Deadline: November 05, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1222.ann
>Fermynwoods Online Open (Thrapston, England; Deadline: November 08, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1228.ann
>Ann Arbor Film Festival (Ann Arbor, MI USA; Deadline: November 04, 2010)
> http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1232.ann
>
>THIS WEEK'S PROGRAMS (SUMMARY):
>==============================
> * A Live Projector Performance By Bruce
>Mcclure [October 23, Cambridge, Massachusetts]
> * Studio: the Futurist [October 23, London, England]
> * Reading Between the Lines [October 23, London, England]
> * Sublime Passages [October 23, London, England]
> * Every Time I See Your Picture I Cry [October 23, London, England]
> * Hit the Road [October 23, London, England]
> * Between Displacement and Nostalgia:
>Conflicted Memories of Cuba [October 23, Los
>Angeles, California]
> * Butterfly Mountain [October 23, New York, New York]
> * Cut and Run: "Evolution and Life"
>Co-Presented With Uniondocs [October 23, New
>York, New York]
> * Essential Cinema: Zvenigora [October 23, New York]
> * Tom Jarmusch Program [October 23, New York]
> * Sometimes City [October 23, New York]
> * "Une Fois Mars ColoniséE" (Once Mars Is Colonized) To Be Screened In the
> Nomad Project, Paris [October 23, Paris, France]
> * Gerry Fialka's Pxl This 19 + [October 23, San Francisco, California]
> * Avant-Garde Showcase: Stan Brakhage [October 24, Boston, Massachusetts]
> * Supramolecular Pavilion- Chemical Reactions
>[October 24, Brooklyn, New York]
> * The Epic and the Everyday - the Films of
>Wang Bing [October 24, Cambridge, Massachusetts]
> * Studio: Shadow Cuts [October 24, London, England]
> * Three Films By Nathaniel Dorsky [October 24, London, England]
> * Lewis Klahr Presents Prolix Satori [October 24, London, England]
> * Break On Through [October 24, London, England]
> * People Going Nowhere [October 24, London, England]
> * Here: A Survey of Films and videos By
>vincent Grenier [October 24, Los Angeles,
>California]
> * Migrating Forms At Bam [October 25, Brooklyn, New York]
> * Lewis Klahr Workshop: Narrative Collage [October 25, London, England]
> * Reading Between the Lines [October 25, London, England]
> * Engram Sepals (Melodramas 1994-2000) [October 25, London, England]
> * Revelations of the Everyday: Films and
>videos By vincent Grenier [October 25, Los
>Angeles, California]
> * International Experimental Cinema
>Exposition - 2010 [October 26, Milwaukee, WI]
> * Grand Detour Heavy Meta Tour [October 26, London, England]
> * Hit the Road [October 26, London, England]
> * Break On Through [October 26, London, England]
> * Grand Detour Presents Heavy Meta: Highlights From the Summer Screening
> Series [October 26, London, England]
> * Mythic Realities: Ann Deborah Levy and Lili
>White [October 26, New York, New York]
> * New York Women In Film and Television Program [October 26, New York]
> * Mike Kuchar In Person [October 26, Reading, Pennsylvania]
> * David Gatten's Journal and Remarks [October 27, London, England]
> * Remembering Dennis Hopper: Curtis
>Harrington's Night Tide [October 27, San
>Francisco, California]
> * Under the Cement, Sediment: Recent video In
>and Around China [October 28, Chicago, Illinois]
> * Cinematons and Other Works By GéRard Courant
>[October 28, New York, New York]
> * Witches! [October 28, San Francisco, California]
> * Electronic Cinema [October 28, San Francisco, California]
> * Electronic Cinema [October 28, San Francisco, California]
> * Still Journey On - the Films of Robert
>Gardner [October 29, Cambridge, Massachusetts]
> * Personal Cinema Series - Ps3* Pedro Sanchez3
>[October 30, New York, New York]
> * Sounds Like? - Jeanne Liotta [October 30, New York, New York]
> * Essential Cinema: Arsenal [October 30, New York]
> * War of the Gargantuas + Godzilla Fantasia +
>[October 30, San Francisco, California]
> * Essential Cinema: Earth [October 31, New York]
>
>
>Events are sorted by CITY within each DATE.
>
>--------------------------
>SATURDAY, OCTOBER 23, 2010
>--------------------------
>
>10/23
>Cambridge, Massachusetts: Harvard Film Archive
>http://hcl.harvard.edu/hfa
>7pm, 24 Quincy street
>
> A LIVE PROJECTOR PERFORMANCE BY BRUCE MCCLURE
> "Each Flash Voided on a Buttress" Three projector performance. Each
> machine is threaded with loops of pattered emulsion consisting of one
> frame translucent base to five frames of emulsion. Two of the projectors
> are bi-packed using loops made from a documentary, "Birds of Northern
> Places." These loops consist of negative prints made from a single 75
> frame shot (3.1 seconds) and are nested inside the emulsion loops each
> pair threaded on a projector. Sound originates from the "windows" in the
> emulsion pattern that open onto the original sound track. The optical
> sound signals are processed by guitar effects pedals - metal distortion,
> two delays and graphic equalizer. Total program running time 60 min.
>
>10/23
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> STUDIO: THE FUTURIST
> THE FUTURIST (Emily Richardson / UK 2010 / 4 min) Illuminated by the
> light of the projector, the interior of a large, 1920s picture house is
> documented from a central position in the stalls. Emily Richardson's
> films record impressions of environments ranging from natural landscapes
> to industrial or urban spaces. The Futurist is the first of a series in
> homage to the cinema experience. Continuous Projection. Free Admission.
>
>10/23
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> READING BETWEEN THE LINES
> THE INDIAN BOUNDARY LINE (Thomas Comerford / USA 2010 / 42
> min)Comerford's essay maps a historical demarcation which originally
> divided Native American land from that which was ceded to white settlers
> in 1812. Modern life has obscured the traces of this history in the
> Rogers Park district of Chicago. Juxtaposing past with present, footage
> shot along this formerly disputed territory is matched with readings
> from official documents, fiction and quotidian accounts. FLAG MOUNTAIN
> (John Smith / UK 2010 / 8 min) A view across the city of Nicosia, over
> the Green Line border, to an unusual spectacle on a hillside. Lives
> continue in its shadow, amongst the contrasting flags, anthems and calls
> to prayer. WHY COLONEL BUNNY WAS KILLED (Miranda Pennell / UK 2010 / 28
> min) An exploration of turn of the century colonial life along the
> Durand Line, the frontier between Afghanistan and British India (now
> Pakistan). Remarkable period photographs are closely analysed as we
> listen to reports of exchanges between westerners, natives and mullahs
> written by missionary doctor TL Pennell.
>
>10/23
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> SUBLIME PASSAGES
> SHUTTER (Alexi Manis / Canada 2010 / 8 min) SHUTTER suggests the uncanny
> atmosphere and changing light on the day of a total eclipse. DRIFTER
> (Timoleon Wilkins / USA 1996-2010 / 24 min) Fragments of the filmmaker's
> life, home and travels, recorded over a 14-year period. "The glories of
> atmospheric light and colour, inward soul-drifting, and the literal
> sensation of drifting within and through each shot and cut." SHRIMP BOAT
> LOG (David Gatten / USA 2010 / 6 min) "300 shots, 29 frames each,
> alternating between a notebook listing the names of shrimp boats that
> frequent the mouth of the Edisto River and images of these same boats."
> BLUE MANTLE (Rebecca Meyers / USA 2010 / 35 min) Blending 19th century
> American literature with factual accounts, illustrations and music by
> Debussy and Wagner, this oblique portrait of a shipwrecked coastline
> conveys the vastness and majesty of the ocean. A song to the sea, and a
> commemoration of those who have risked their lives off the treacherous
> Massachusetts shore. TRAVELLING FIELDS (Inger Lise Hansen / Norway 2009
> / 9 min) In the third film of her 'inverted perspective' trilogy, Hansen
> turns her camera on the North West Russia, creating monumental and
> uncanny vistas from these barren wastelands.
>
>10/23
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> EVERY TIME I SEE YOUR PICTURE I CRY
> EVERY TIME I SEE YOUR PICTURE I CRY (Daniel Barrow / Canada 2008 / 60
> min) Daniel Barrow has developed an intimate mode of 'manual animation'
> using the antiquated technology of an overhead projector. From a
> position amongst the audience, he recites live narration while
> manipulating layers of transparencies in continuous motion. Accentuated
> by interference patterns and sleight-of-hand trickery, Barrow's
> hand-drawn images contrive an absorbing tale of comic book grotesques.
> EVERY TIME I SEE YOUR PICTURE I CRY is a bizarre confessional detailing
> the grand but hopeless scheme of an estranged garbage collector and
> failed art student. Unloved and rejected by society, the protagonist
> begins a universal art project in the form of a telephone directory of
> 'profound and intimate insights' to chronicle the lives of those around
> him. As he snoops through the windows and waste bins of fellow citizens,
> his survey is rendered futile by a maniacal killer who follows in his
> wake, picking off subjects one by one. Invoking introspection, pathos
> and dark humour, this award winning performance piece is accompanied by
> an unassuming Beach Boys-inflected score recorded by Amy Linton of The
> Aislers Set.
>
>10/23
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> HIT THE ROAD
> MAKE IT NEW JOHN (Duncan Campbell / UK 2009 / 50 min) The story of the
> DeLorean car and its notorious entrepreneur's Northern Ireland venture,
> assembled from found and reconstructed footage. During a momentous
> period in the province's history, the manufacture of this futuristic
> vehicle was beset by its own troubles - governmental pacts, an
> inexperienced workforce and allegations of misconduct. This insightful
> film, with its Pinteresque finale concerning the plight of the workers,
> raises questions on documentary form and the representation of
> historical events. GET OUT OF THE CAR (Thom Andersen / USA 2010 / 34
> min) Andersen's latest homage to Los Angeles takes time to stop and
> consider the temporary architecture of roadside billboards, community
> murals and hand-painted signs. A movie about the ephemeral sights of the
> city, with a rocking soundtrack of local music and the confused
> interjections of passers-by.
>
>10/23
>Los Angeles, California: Redcat
>http://www.redcat.org/
>6:00pm, 631 W. 2nd St., Los Angeles, CA 90012
>
> BETWEEN DISPLACEMENT AND NOSTALGIA: CONFLICTED MEMORIES OF CUBA
> Tomás Gutiérrez Alea: Memorias del subdesarrollo (Memories of
> Underdevelopment), Cuba, 1968, 97 min., 35mm. Followed by a discussion
> with Cuban novelist Edmundo Desnoes. And by Miguel Coyula: Memorias del
> desarrollo (Memories of Overdevelopment), USA/Cuba, 2010, 113 min.,
> HDCAM One of the first international successes of Third Cinema, Tomás
> Gutiérrez Alea's classic film was banned in the United States for five
> years, a victim of the embargo on post-revolutionary Cuba. Memories of
> Underdevelopment imaginatively transposes Edmundo Desnoes' eponymous
> stream-of-consciousness novel into a modernist cinematic space. Desnoes'
> ambivalence toward the new regime grew, and in 1979 he defected to the
> United States, where he wrote Memories of Overdevelopment, a companion
> piece to his earlier work. His writings in turn inspired young Cuban
> filmmaker Miguel Coyula, who uses the digital-media tools of his
> generation to comment on the issues that have fascinated Desnoes: the
> hunger to embrace a revolutionary cause versus political
> disillusionment, feeling displaced in one's own country and in permanent
> exile in the country of one's choice, the protracted conflict between
> underdevelopment and overdevelopment, and, last but not least, acerbic
> sexual politics. Desnoes will share his point of view on both films,
> creating a dialogue between Gutiérrez Alea's masterpiece and Coyula's
> multilayered visual experiment. In person: Edmundo Desnoes and Miguel
> Coyula/ Jack H. Skirball Series $15 [students $12, CalArts $8] Includes
> both screenings and discussion
>
>10/23
>New York, New York: Microscope Gallery
>http://www.microscopegallery.com
>7pm, 4 Charles Place - Bushwick - Brooklyn NY 11221
>
> BUTTERFLY MOUNTAIN
> Painter, performance artist & writer Marta Hoskins, in town from Paris,
> joins us this Saturday 10/23 at MICROSCOPE Gallery for an evening of
> short videos including the first gallery screening of Butterfly
> Mountain, a video performed and co-directed by Hoskins and french
> director Antoine Barraud as well as videos by underground film-makers
> Richard Kern, Dale Hoyt and Keja-Ho Kramer featuring Marta as performer.
> Marta Hoskins began performing in Cleveland in the early 80s with Ralf
> Armin Kaethner and later in San Francisco, LA and NYC, collaborating
> along the way with many of the luminaries of the underground perfomance,
> music and film scenes. On the west coast, she performed with Tony Labat
> and also joined the funk bank Premonition - playing 'white cunt' guitar
> and Farfisa and appeared in 2 video works by artist Dale Hoyt, Dancing
> Death Monsters (1981) and Over My Dead Body (1982). In New York, she
> took part in the 'Cinema of Transgression' experience, along side Nick
> Zedd, Kembra Pfahler, Bradley Eros and Richard Kern, for whom she
> performed in the 1987?s Submit to Me Now. Butterfly Mountain is
> based on the documentation of the performance she wrote and realised in
> 2008 at Chateau de Sacy, Paris, commissioned by Hermine Deloriane. She
> has performed it live twice since then at Garage Mobile Archives and
> Lucca Film Festival, Italy. Along with the video program, a Polaroids
> series of Marta shot by Bradley Eros in the 1980s will be on display for
> the evening. PROGRAM: Sky Rocket by Keja-Ho Kramer 2005, 4'13?,
> color, sound, video Submit To Me Now by Richard Kern 1987, 17?,
> color, sound, super8 Dancing Death Monsters by Dale Hoyt 1981,
> 2'29?, color, sound, video Over My Dead Body by Dale Hoyt 1982,
> 16?, color, sound, video Butterfly Mountain by Marta Hoskins and
> Antoine Barraud 2010, 20?, color, sound, video / Admission $6 -
> tickets available at door/ The gallery is located on a dead end street
> at the intersection of Myrtle and Willoughby Avenues, 1 block East and
> the first left after Bushwick Ave.../... Nearest Subway - J/M/Z Myrtle
> Ave/ Broadway stop Walk down the subway stairs and straight across
> Broadway, continue along Myrtle Ave until you hit the first major
> intersection (Bushwick Ave). Cross Bushwick. Charles Place is the next
> left. We are behind LIttle Skips' Cafe. From L Train - Jefferson
> StreetTurn Right on Troutman (south), left on Evergreen, right on
> Willoughby, right on Charles Place. more info on:
> www.microscopegallery.com
>
>10/23
>New York, New York: Cut and Run
>http://cutandruntour.wordpress.com/
>8:00 pm, 66 E. 4th St. New York, NY 10003
>
> CUT AND RUN: "EVOLUTION AND LIFE" CO-PRESENTED WITH UNIONDOCS
> OCTOBER 23 (Sat.) CUT & RUN: "EVOLUTION and LIFE" Cut and Run is a
> traveling tour of experimental shorts curated by Mallary Abel and Brenda
> Contreras. The "EVOLUTION AND LIFE" program, co-presented with
> UnionDocs, focuses on cycles of minds, bodies, and filmstrips. Each work
> represents a perspective of itself as one, in contrast to others.
> Experience a cinematic evolution through cycles of the mind, body, and
> medium in this montage from filmmakers throughout the world. With films
> by: 12 ERASED TRAILERS (2010, Spain, 11 min) by Alberto Cabrera Bernal
> PEEKS (2009, 3 min) by Jo Dery ALIKI (2010, Cyprus, USA, 5 min) by
> Richard Wiebe BODY (2010, France, 7 min) by Frederic Cousseau CAT'S
> CRADLE (2010, USA, 4 min) by Ray Rea MEMORIES (2004, Germany, 19 min) by
> Sylvia Schedelbauer LILLY (2007, USA, 6 min) by Jodie Mack CUTS IN
> MOTION (2008, USA, 5.5 min) by Brenda Contreras Visit the Cut and Run
> site for detailed film and program information.
>
>10/23
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>5:00 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: ZVENIGORA
> by Alexandr Dovzhenko No English intertitles; English synopsis
> available, 1928, 96 minutes, 35mm Dovzhenko's second film, attacked by
> Soviet critics for being so beautifully rendered as to actually lessen
> its political impact, remains today a "cinematic poem" as the director
> named it. Dovzhenko wrote: "I did not so much make the picture as sing
> it out like a songbird." Episodic, folkloric, and allegorical, it is a
> mythic search for hidden treasure by two brothers.
>
>10/23
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>7:30 pm, 32 2nd Avenue
>
> TOM JARMUSCH PROGRAM
> PROGRAM 2: SHORTS UNTITLED (4 minutes, 16mm) DREAM (1995/2004, 4
> minutes, Super8-to-16mm) Scratches and splices partially obscure this
> quizzical tale about a guy buying a gun. FRIENDS (1994, 30 minutes,
> video) "The culmination of ten years of bohemian austerity, aesthetic
> discipline and bitter life experience. Š Jarmusch creates an air of
> extreme psychological distance and discontinuity. His Lower East Side
> becomes a profoundly alienated, schizophrenic place dominated by random,
> seemingly purposeless encounters in which emotional commitment has all
> the permanence of a handshake and the 'friends' of the title prove
> anything but. Š [A]rguably a minor masterwork of comedy of the
> grotesque." - Bill Raden, CAPTURED ALFREDO (2000, 8 minutes,
> 16mm-to-video) A truly lovely, eye-opening silent portrait of 300-pound
> artist Alfredo Martinez firing guns and playing video games during his
> 1999-2000 project QUIET. DOCUMENT MEMORY, FOR MY FRIEND BILL RICE (2006,
> 12 minutes, video) An all-too-brief document of departed East Village
> icon, painter, and actor Bill Rice. Plus, expect a few additional,
> surprise shortsŠ
>
>10/23
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>8:30 pm, 32 2nd Avenue
>
> SOMETIMES CITY
> See notes for Oct. 22nd, 7:30 pm.
>
>10/23
>Paris, France: NOMAD Project
>http://nomadfilms.net/
>from 8 to 10pm, Espace des Blancs Manteaux, 48 Rue Vieille du Temple, 75004
>
> "UNE FOIS MARS COLONISéE" (ONCE MARS IS COLONIZED) TO BE SCREENED IN THE
> NOMAD PROJECT, PARIS
> Une fois Mars colonisée (Once Mars Is Colonized, 2010) by Pierre Yves
> Clouin will be featured in The Nomad Project's official film program
> that will screen at the Access & Paradox Open Art Fair, to be held at
> the Espace des Blancs Manteaux in Paris, from 8 to 10pm on Saturday,
> October 23. Acces & Paradox, which "defends the most emergent artistic
> scene," will present over 25 curated projects during the Paris fair that
> runs from October 22 to 25 (press release). Simultaneous to the
> screening in Paris, the Nomad Project program will be aired in real time
> on Souvenirs From Earth, an international cable TV channel that
> broadcasts film and video art 24/7 in France and Germany.
>
>10/23
>San Francisco, California: Other Cinema
>http://www.othercinema.com/
>8:30pm, Artists' Television Access, 992 Valencia
>Street, San Francisco, CA 94110
>
> GERRY FIALKA'S PXL THIS 19 +
> The penultimate part of our Dead Media mini-series (the fifth
> iteration's on 12/11), Gerry Fialka's annual PXL THIS FEST returns to
> OC, featuring a new set of motion pictures made with the Fisher-Price
> PXL 2000 toy camcorder, a plastic video camera that records low-res b/w
> video onto audio-cassettes! The NorCal premiere of PXL inventor's James
> Wickstead's Color PXL unveils the only footage ever shot with the
> one-of-a-kind PXL-2000 color camcorder. ALSO on view are Jesse Drew's
> Cultural Democracy, Mariko Drew's Wild Beast, 6-year-old Chester
> Burnett's Donut Memorial, Lisa Marr/Paolo Davanzo's The Chaser, Janor
> Hypercleats' Interview with Rockstar Marilyn Osbourne, and Gerry
> Fialka's own Effects Precede Causes. An electronic invocation by
> presiding media guru Korla Pandit opens the door to a signature Fialka
> conspiracy yarn.
>
>------------------------
>SUNDAY, OCTOBER 24, 2010
>------------------------
>
>10/24
>Boston, Massachusetts: Arts Emerson
>https://artsemerson.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=825C0101-F661-436F-9CDD-FB0A92234FC4
>7 pm, Bright Family Screening Room 559 Washington St
>
> AVANT-GARDE SHOWCASE: STAN BRAKHAGE
> We commence a recurring showcase of international experimental cinema
> with this program of films by Stan Brakhage, the luminary artist whose
> oeuvre of over 350 films comprises the passionate, expansive and
> visionary poetry of one of the most important figures in the history of
> American cinema. Spanning several decades of Brakhage's career, the
> selected films: Thigh Line Lyre Triangular (1961, 5 minutes); The
> Animals of Eden and After (1970, 35 minutes); Creation (1979, 17
> minutes); He Was Born, He Suffered, He Died (1974, 7 minutes); The
> Mammals of Victoria (1994, 34 minutes). Prints include recent
> restorations by the Academy of Motion Picture Arts and Sciences, which
> has dedicated itself to the preservation of Brakhage's films. $10. $7.50
> for Members. $5 for Students. 98 minutes Color, Black and White, 16mm
> Silent
>
>10/24
>Brooklyn, New York: Central Booking Gallery II
>http://centralbookingnyc.com/galleries/gallery-2-art_science/past-exhibitions/
>Sept 2-Oct 24, 111 Front Street
>
> SUPRAMOLECULAR PAVILION- CHEMICAL REACTIONS
> This video contains a collection of superstructures of molecular nature
> created experimentally by Myriam Solar in the water. The sample reflects
> aspects of its behavior characterized by the aggregation of molecules in
> small and great surfaces and by the design of molecular sets and
> structures of high selectivity. The complexity art exhibits in this
> video its supramolecular dimension connected with the strange chemical
> of the water that creates like it makes the own nature through of
> complex processes and is also a new visual language for the contemporary
> art in the intersection with the nature and other fields of the
> knowledge like the one of molecular science. The video encloses joined
> to the fractal and supramolecular images, animation and electroacoustic
> music created by the artist. http://www.everyoneweb.es/myriamsolar
>
>10/24
>Cambridge, Massachusetts: Harvard Film Archive
>http://hcl.harvard.edu/hfa
>7pm, 24 Quincy street
>
> THE EPIC AND THE EVERYDAY - THE FILMS OF WANG BING
> WEST OF THE TRACKS, PART III: RAILS on Sunday October 24 and COAL MONEY
> and BRUTALITY FACTORY on Monday October 25.
>
>10/24
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> STUDIO: SHADOW CUTS
> SHADOW CUTS (Martin Arnold / Austria 2010 / 4 min) Alternately consumed
> by darkness and blinded by the light, Mickey and Pluto are caught in an
> eternal embrace by a film that refuses to end. In his films and digital
> works, Martin Arnold uses intense repetition or subtle substitution to
> reveal subliminal nuances beneath the surface of pre-existing footage.
> Continuous Projection. Free Admission.
>
>10/24
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> THREE FILMS BY NATHANIEL DORSKY
> Nathaniel Dorsky finds moments of profound beauty among the shadows,
> reflections and luminosity of city life and the natural world. His open
> form of filmmaking creates a space for the viewer's contemplation amidst
> the subtle and astonishing images which radiate from the screen. This
> programme presents two new films together with a recent preservation of
> a formative early work. COMPLINE (Nathaniel Dorsky / USA 2009 / 19 min)
> "COMPLINE is a night devotion or prayer, the last of the canonical
> hours, the final act in a cycle. It is the last film I will be able to
> shoot in Kodachrome; a loving duet with and a fond farewell to this
> noble emulsion." AUBADE (Nathaniel Dorsky / USA 2010 / 12 min ("An
> aubade is a morning song or poem evoking the first rays of the sun at
> daybreak. In some sense, it is a new beginning for me." HOURS FOR JEROME
> (Nathaniel Dorsky / USA 1966-70/1982 / 45 min) (restoration print) "An
> arrangement of images, energies, and illuminations from daily life.
> These fragments of light revolve around the four seasons and are very
> much a part of the youthful energy and poignant joy of my mid-20s. In
> medieval European Catholicism, a 'Book of Hours' was a series of prayers
> presented eight times every 24 hours. Each 'hour' had its own qualities,
> from pre-dawn till very late at night, and these qualities also changed
> through the progressing seasons of the year." HOURS FOR JEROME has been
> preserved by Pacific Film Archive with support from the National Film
> Preservation Foundation.
>
>10/24
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>4pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> LEWIS KLAHR PRESENTS PROLIX SATORI
> Collage artist Lewis Klahr introduces PROLIX SATORI, an ongoing series
> which appropriates images from comics, magazines and catalogues. A
> filmmaker since the 1980s, his signature style is saturated in
> mid-century Americana but addresses universal experience and is
> resolutely contemporary. Retaining distinctive handcrafted qualities
> across a recent shift to digital, Klahr choreographs comic book
> characters in fractured landscapes of patterns, textures and
> architectural details. Going beyond abstraction and nostalgic cliché, he
> builds high melodrama from modest means, conjuring elliptical narratives
> that evoke complex moods and emotions. Within PROLIX SATORI, a new
> project of 'couplets' elicits different atmospheres through repetitions
> of soundtracks or imagery. An emotive mix of classical, easy listening
> and iconic pop music carries viewers through tales of lost love and
> wistful reverie. This screening is a chance to be immersed in the
> idiosyncratic world of a widely acclaimed artist making his first UK
> appearance. FALSE AGING (Lewis Klahr / USA 2008 / 15 min) NIMBUS SMILE
> (Lewis Klahr / USA 2009 / 8 min) NIMBUS SEEDS (Lewis Klahr / USA 2009 /
> 8 min) CUMULONIMBUS (Lewis Klahr / USA 2010 / 10 min) SUGAR SLIM SAYS
> (Lewis Klahr / USA 2010 / 7 min) WEDNESDAY MORNING TWO A.M. (Lewis Klahr
> / USA 2009 / 7 min) LETHE (Lewis Klahr / USA 2009 / 23 min)
>
>10/24
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>7pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> BREAK ON THROUGH
> GHOST ALGEBRA (Janie Geiser / USA 2009 / 8 min) "Under erratic skies, a
> solitary figure navigates a landscape of constructed nature and broken
> bones. She peers through a decaying aperture, waiting and watching: the
> fragility of the body is exposed for what it is: ephemeral, liquid, a
> battlefield of nervous dreams." STILL RAINING, STILL DREAMING (Phil
> Solomon / USA 2009 / 15 min) Videogaming was never meant to be this way:
> uncanny and elegiac in tone, poignant and considered in practice. By
> betraying the violent subtext of his source material, Solomon has found
> genuine poetry in the desolate spaces of digitally constructed worlds.
> SO SURE OF NOWHERE BUYING TIMES TO COME (David Gatten / USA 2010 / 9
> min) The windows of a small antique store in the Rocky Mountains
> displays carefully arranged curiosities - specific objects each with
> their attendant histories. Visible traces of past uses, previous lives,
> secrets and significance. FORMS ARE NOT SELF-SUBSISTENT SUBSTANCES
> (Samantha Rebello / UK 2010 / 22 min) Words, concepts, things.
> Referencing Aristotle and illuminated manuscripts, Rebello asks 'What is
> substance?' Romanesque stone carvings are measured against latter-day
> beasts, seeking parity between medieval perception and a present-day
> embodiment. FACTS TOLD AT RETAIL (AFTER HENRY JAMES) (Erin Espelie / USA
> 2010 / 9 min) "The author of The Golden Bowl acts as the confessed
> agent, and the glass through which every image is reflected or filtered
> takes on a kind of consciousness." COSMIC ALCHEMY (Lawrence Jordan / USA
> 2010 / 24 min) A voyage in the celestial realm, out beyond
> consciousness, steered by a master of mystical transformation. Wondrous
> visions are charted on star maps from the Harmonia Macrocosmica to a
> spellbinding drone track by John Davis.
>
>10/24
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>9pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> PEOPLE GOING NOWHERE
> DE MOUVEMENT (Richard Kerr / Canada 2009 / 7 min) Kerr's mind-bending
> trip through the wipes and dissolves of old feature films is an
> exhilarating demonstration of the power of cinema. MAY TOMORROW SHINE
> THE BRIGHTEST OF ALL YOUR MANY DAYS AS IT WILL BE YOUR LAST (Ben Rivers
> & Paul Harnden / UK 2009 / 13 min) Female Japanese cadets patrol the
> woods and countryside where old men channel Futurist poets. Adjacent
> yes, but simultaneous? BRUNE RENAULT (Neil Beloufa / France 2009 / 17
> min) An abandoned car park is no substitute for the open road. Four
> characters find themselves in a looped fiction, replete with cliches,
> acting out cycles of heightened emotions. Like all teenagers, they think
> the world revolves around them - and in this film it almost does. VOT
> (Victor Alimpiev / Russia 2010 / 5 min) As if suspended in limbo, or
> perhaps deep in rehearsal, five performers exchange glances, gestures
> and utter strange sounds. KINDLESS VILLAIN (Janie Geiser / USA 2010 / 4
> min) Two boys seem trapped inside their own imaginations, dreaming of
> naval battles and Egyptian exotica. COMING ATTRACTIONS (Peter
> Tscherkassky / Austria 2010 / 24 min) With humour and materialist
> dynamics, Tscherkassky explores the direct relationship between actor,
> camera and audience. A meditation on the 'cinema of attractions';
> exploiting leftovers from the commercial industry to collide the
> intersecting forms of early film and the avant-garde.
>
>10/24
>Los Angeles, California: Filmforum
>http://www.lafilmforum.org/
>7:30 pm, Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.)
>
> HERE: A SURVEY OF FILMS AND VIDEOS BY VINCENT GRENIER
> Vincent Grenier is a pioneering North American film-and-video artist who
> has left his distinctive mark on the San Francisco, Montreal and New
> York avant-gardes. Grenier's work evinces a keen photographic eye and a
> subtle sense of how images combine to create feeling. With influences as
> disparate as Eastern painting, Dryer's Jeanne d'Arc and Ernie Gehr,
> Grenier has charged his cinema with an electric self-reflexivity whose
> energy does not preclude moments of absolute clarity and even meditative
> stillness. The evening will range widely in terms of technique, form and
> format, but each work achieves a unique poetry that can be at once
> tough, tenuous and tender.
>
>------------------------
>MONDAY, OCTOBER 25, 2010
>------------------------
>
>10/25
>Brooklyn, New York: Migrating Forms
>http://www.bam.org/view.aspx?pid=2685
>6:50, 9:30, 30 Lafayette
>
> MIGRATING FORMS AT BAM
> FIlms by Peggy Ahwesh, eteam, Kevin Jerome Everson, Stanya Kahn, Andrew
> Lampert, and Dani Leventhal http://www.bam.org/view.aspx?pid=2685
> Migrating Forms will present two programs of jury selections from the
> 2010 festival on October 25th. There are no cash prizes or predetermined
> awards at Migrating Forms. Instead, a panel of artists or curators
> devises written distinctions according to whatever criteria they feel
> most relevant to the program as a whole, indicative of unique
> achievement, and/or beneficial to the filmmakers. The 2010 jury was
> comprised of Rebecca Cleman, Ben Coonley and Thomas Zummer. Each program
> will be introduced by a member of the jury and the shorts program will
> be followed by a Q & A. Tickets on sale now:
> http://www.bam.org/view.aspx?pid=2685 6:50pm Erie (2010, 81 min) dir.
> Kevin Jerome Everson Best Long Form Work "Everson rejects the role of
> cultural explainer in his work, opting instead to place the burden of
> understanding on the audience and its own labor. In this way, he has
> carved a place for himself outside both the typical expectations of
> documentary and the conventions of representational fiction, attempting
> to work from the materials of the worlds he encounters to create
> something else." -Ed Halter, Artforum Erie consists of a series of
> single take shots in and around communities near Lake Erie. The scenes
> relate to a Black migration in the USA, contemporary conditions, folks
> concentrating on the task at hand, theater and famous art objects. The
> subject matter is the gestures or tasks caused by certain conditions in
> the lives of working class African Americans and other people of African
> descent. The conditions are usually physical, social-economic
> circumstances or weather. Instead of standard realism I favor a strategy
> that abstracts everyday actions and statements into theatrical gestures,
> in which archival footage is re-edited or re-staged, real people perform
> fictional scenarios based on their own lives and historical observations
> intermesh with contemporary narratives. The films suggest the
> relentlessness of everyday life-along with its beauty-but also present
> oblique metaphors for art-making. -Kevin Jerome Everson 9:30pm Shorts
> Program Jury selected shorts Bethlehem (2009, 8 min) Dir. Peggy Ahwesh
> Working through my archive of accumulated video footage, I pretended it
> was found footage from anonymous sources. What began as a tribute to
> Bruce Conner of the period of Valse Triste and Take the 5:10 to
> Dreamland, with their deliberate pace and bittersweet memory of home,
> ended as a dedication to my father as I wound my way through miscellany
> with distance and another aim. -Peggy Ahwesh Prim Limit (2009, 32 min)
> Dir. eteam If second lives have grown into the landscape of social
> network space and avatars engage a full range of human emotions and
> experience, it follows that they would eventually encounter existential
> questions. Eteam's Prim Limit traces this fascinating unexpected
> trajectory. A plot of land is purchased in the online 3-D Second Life
> network and a simple question is asked: Where do discarded 3D objects go
> and can we build a dumpster to accommodate them? To find out eteam set
> aside a year to let this virtual land use problem unfold and what is
> captured in Prim Limit is the lived experience of avatars managing and
> recording this dumpster. This is a very contemporary Existentialist tale
> that is more about Wasteland than Waste, and all the very human emotions
> this terminal condition evokes. -Will Pappenheimer It's Cool, I'm Good
> (2010, 35 min) Dir. Stanya Kahn In It's Cool, I'm Good, Kahn resumes her
> familiar place in front of the camera, this time bandaged and injured, a
> protagonist who is at once selfless and narcissistic, verbose and
> elusive, vulnerable and manipulative. Paralleling the way in which jokes
> compress and expand meaning, Kahn organizes the narratives along the
> lines of a psycho-emotional unpacking, creating small arcs in place of
> grand ones. Caroline Golum As (2010, 9 min) Dir. Andrew Lampert Caroline
> Golum auditions to play the filmmaker's great great great great great
> aunt in late 1700s Siberia. 54 Days This Winter 36 Days This Spring For
> 18 Minutes (2009, 16 min) Dir. Dani Leventhal Dani gathered material for
> 9 minutes each day, then condensed it down to this 16 minute video
> montage of impressions which has a cumulative effect, accessed and read
> differently depending on the mental connections the viewer makes. It is
> presented as short scenes: documentation of the quotidian, on-camera
> monologues, and performative or expressive shots that are constructed.
> The material, while mostly generated as a diary, is heterogeneous enough
> to include just about any kind of footage. -Video Data Bank
> http://www.bam.org/view.aspx?pid=2685
>
>10/25
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>10am to 5pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> LEWIS KLAHR WORKSHOP: NARRATIVE COLLAGE
> Drawing on his considerable experience as an artist, Lewis Klahr will
> lead a masterclass on how characters, stories and atmospheres can be
> developed with minimal resources. Following a participatory collage
> exercise using copies of the day's newspapers, Klahr will illustrate his
> creative process through a detailed analysis of his film PONY GLASS
> (1998), a coming of age drama in which Superman's pal Jimmy Olsen
> undergoes a sexual identity crisis of epic proportions. The day will
> culminate in an exclusive preview of brand new works. Declared 'the
> reigning proponent of cut and paste' by critic J. Hoberman, Lewis Klahr
> has shown his films and digital at most major festivals and in three
> Whitney Biennials. He teaches directing and screenwriting at CalArts,
> has created effects and sequences for commercials and TV, and co-rewrote
> THE MOTHMAN PROPHESIES (2002). The workshop is a unique opportunity to
> explore collage, animation processes and narrative construction with a
> leading practitioner. Prior experience of filmmaking is not required.
> Limited to 25 participants. Please book early to avoid disappointment.
> (Please note that an incorrect date for the workshop has been listed in
> the Festival brochure.)
>
>10/25
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> READING BETWEEN THE LINES
> THE INDIAN BOUNDARY LINE (Thomas Comerford / USA 2010 / 42 min)
> Comerford's essay maps a historical demarcation which originally divided
> Native American land from that which was ceded to white settlers in
> 1812. Modern life has obscured the traces of this history in the Rogers
> Park district of Chicago. Juxtaposing past with present, footage shot
> along this formerly disputed territory is matched with readings from
> official documents, fiction and quotidian accounts. FLAG MOUNTAIN (John
> Smith / UK 2010 / 8 min) A view across the city of Nicosia, over the
> Green Line border, to an unusual spectacle on a hillside. Lives continue
> in its shadow, amongst the contrasting flags, anthems and calls to
> prayer. WHY COLONEL BUNNY WAS KILLED (Miranda Pennell / UK 2010 / 28
> min) An exploration of turn of the century colonial life along the
> Durand Line, the frontier between Afghanistan and British India (now
> Pakistan). Remarkable period photographs are closely analysed as we
> listen to reports of exchanges between westerners, natives and mullahs
> written by missionary doctor TL Pennell.
>
>10/25
>London, England: Tate Modern
>http://www.tate.org.uk/modern/programmes/film
>7pm, Bankside, London, SE1 9TG
>
> ENGRAM SEPALS (MELODRAMAS 1994-2000)
> Collage artist Lewis Klahr introduces ENGRAM SEPALS, his celebrated
> sequence of seven films which traces 'a trajectory of American
> intoxication'. Appropriating the imagery of pop culture from the
> aspirational 1940s through the free-loving 1970s, Klahr's cut-out
> animations draw us into a dreamlike world of intrigue, anxiety and lust.
> A surreal and atmospheric epic propelled by an evocative soundtrack
> featuring Frank Sinatra, Morton Feldman, Mercury Rev and The Stooges.
> ALTAIR (Lewis Klahr / USA 1994 / 8 min) ENGRAM SEPALS (Lewis Klahr / USA
> 2000 / 6 min) ELSA KIRK (Lewis Klahr / USA 1999 / 5 min) PONY GLASS
> (Lewis Klahr / USA 1997 / 15 min) GOVINDA (Lewis Klahr / USA 1999 / 23
> min) DOWNS ARE FEMININE (Lewis Klahr / USA 1994 / 9 min) A FAILED
> CARDIGAN MANEUVER (Lewis Klahr / USA 1999 / 15 min) Lewis Klahr's work
> has been featured in three Whitney Biennials and is in the collection of
> the Museum of Modern Art, New York. He is a faculty member at CalArts,
> received a Guggenheim Fellowship in 1992, and was ranked 4th in the Film
> Comment avant-garde poll of this decade's most important filmmakers. The
> Wexner Center, Columbus, recently presented a retrospective of Klahr's
> films and is preparing a DVD box set for release later this year.
> Curated by Mark Webber and presented in association with The 54th BFI
> London Film Festival.
>
>10/25
>Los Angeles, California: Redcat
>http://www.redcat.org/
>8:30pm, 631 W. 2nd St., Los Angeles, CA 90012
>
> REVELATIONS OF THE EVERYDAY: FILMS AND VIDEOS BY VINCENT GRENIER
> Vincent Grenier, a native of Québec City, Canada, has lived in New York
> City and Ithaca, New York, since the 1970s and over the past four
> decades has produced one of the most significant bodies of experimental
> films and videos of his generation. "My works directly confront the
> ideas of spatiality and temporality as a continuum and unsettle the
> notion of a universal human experience," Grenier writes. "These films
> and videos move towards fracturing space and time in order to release
> how the everyday, and the specific, hold within them ineffable,
> untranslatable, revelations of light, color, form, and composition." His
> work has been shown at The Museum of Modern Art, New York Film Festival,
> the Whitney Museum, the International Film Festival Rotterdam, and Media
> City Film Festival, Ontario. His films are included in the Art Gallery
> of Ontario, the National Gallery of Canada, The Donnell Library Center,
> and other institutions in Canada and the United States. Program includes
> Tabula Rasa, Here, Surface Tension #2, North Southernly, While Revolved,
> Armoire, Burning Bush, and others. In person: Vincent Grenier / Jack H.
> Skirball Series $9 [students $7, CalArts $5]
>
>-------------------------
>TUESDAY, OCTOBER 26, 2010
>-------------------------
>
>10/26
> Milwaukee, WI: TIE, The International Experimental Cinema Exposition
>http://hosted.verticalresponse.com/204850/b61ce17d39/327974/4067d4c5a1/
>7:00 p.m., University of Wisconsin Milwaukee
>(UWM) Union Theatre 2200 E. Kenwood Blvd
>
> INTERNATIONAL EXPERIMENTAL CINEMA EXPOSITION - 2010
> Join us at The Union Theatre in Milwaukee, Wisconsin for the 2010
> edition of TIE, The International Experimental Cinema Exposition on
> Tuesday, October 26 with an all-new, original program highlighting the
> work of internationally renowned artists' experimental films in 35mm,
> 16mm and Single-8mm cinema projection. (35mm: Simplex 35mm projector
> head, SuperLumex Lamphouse w. 2k xenon bulb. 16mm: Eastman 25 model
> (muti-speed modified), SuperLumex Lamphouse w. 1600 xenon bulb. Super-8:
> Elmo GS-1200.) In an age with ever expanding electronic technologies for
> capturing moving images, the illusion of movement generated through
> traditional film remains a unique experience that is unmatched by more
> contemporary methods of moving image making. Ground-breaking work on
> original celluloid-based film continues its invigorating revival around
> the world, ceaselessly increasing in ubiquity with each passing year.
> The TIE programs draw attention to these intriguing works, bringing
> together internationally celebrated talents from different generations
> of filmmakers. TIE has held exhibitions and festivals on an
> intercontinental level, with venues in the United States, Canada,
> Argentina, Austria and Uruguay, exposing international audiences to
> avant-garde films and pioneering filmmakers of both historic and
> contemporary contexts. TIE's October 26 program was curated specifically
> for the Union Theatre's premier facility, presenting viewers with an
> exclusive opportunity to observe this once in a lifetime event. The
> original lineup includes captivating experimental films from several
> internationally acclaimed artists, each investigating complex themes and
> ideas through their innovative and poetic work. Anticipation surrounding
> the event is palpably enthusiastic, as most of the films being screened
> are regional premiers with a few world and North American premieres.
> Colorado native, Timoleon Wilkins' film Drifter uses fragments of his
> own life, recorded over a 14 year period, to take viewers on a voyage
> through each shot, cut and sensation of this atmospheric piece. Austrian
> filmmaker, Peter Tscherkassky, utilizes found footage and an array of
> techniques such as solarization, multiple exposures and optical printing
> in Coming Attractions. Claudio Caldini's Argentinean film, Lux Taal,
> examines the four seasons and climate change in a small town west of
> Buenos Aires. San Francisco filmmaker, Nathaniel Dorsky, marks his first
> attempt to shoot in color negative with the visual poetry of one of his
> latest projects titled Aubade. Malic Amalya's Drifting challenges
> viewers' understanding of perception through exposing photographic
> anomalies of film, while a live score from musician, Isaac Sherman,
> accompanies the visuals. In addition, Phil Solomon's 1983 classic,
> What's Out Tonight is Lost, is beautifully re-presented, allowing
> audiences to re-experience this powerful inquiry of human emotion or
> discover it for the first time. The American Film Academy has preserved
> and restored Solomon's original, with a stunning new 16mm print. With
> such an illustrious assemblage of avant-garde artists and films, TIE's
> October 26 program will undoubtedly dazzle viewers and provide insight
> into the enlightening experience that is experimental cinema.
> Christopher May is the founder and primary curator behind TIE, The
> International Experimental Cinema Exposition. May has organized
> international conferences and festivals and has curated film programs
> for cultural institutions, museums, colleges and film societies around
> the world. May's programming is recognized for its unique filmic
> quality, challenging philosophical nature and international scope.
>
>10/26
>London, England: Grand Detour
>http://www.grand-detour.org/
>7:30, Colonnade, Bloomsbury, London WC1N 1JD
>
> GRAND DETOUR HEAVY META TOUR
> Grand Detour focuses on curating exhibitions and presentations from both
> established and up-and-coming artists. Additionally we act as a venue
> for touring shows and individuals wishing to premiere new films, videos,
> installations, and performances. The Heavy Meta tour showcases a 70
> minute presentation of film and video highlights featuring highlights
> from our popular Summer Screening series. The program (which will also
> travel throughout the United States this Winter) features short
> experimental works by Vanessa Renwick, Jon Behrens, Karl Lind, Julie
> Perini, Carl Diehl, Ben Popp, and others. Grand Detour founding member
> Dustin Zemel will use the tour to network with similar arts
> organizations and microcinemas in Glasgow, London and Berlin, discussing
> the future and pertinence of creative digital media exchanges in the
> realm of experimental film and video art. As much as Grand Detour is
> passionate about making connections in Portland, we are equally invested
> in bringing together the international media arts community. Its our
> goal to make it that much easier for artists and organizations to find
> each other and seek out new audiences for screenings and discourse.
>
>10/26
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> HIT THE ROAD
> MAKE IT NEW JOHN (Duncan Campbell / UK 2009 / 50 min) The story of the
> DeLorean car and its notorious entrepreneur's Northern Ireland venture,
> assembled from found and reconstructed footage. During a momentous
> period in the province's history, the manufacture of this futuristic
> vehicle was beset by its own troubles - governmental pacts, an
> inexperienced workforce and allegations of misconduct. This insightful
> film, with its Pinteresque finale concerning the plight of the workers,
> raises questions on documentary form and the representation of
> historical events. GET OUT OF THE CAR (Thom Andersen / USA 2010 / 34
> min) Andersen's latest homage to Los Angeles takes time to stop and
> consider the temporary architecture of roadside billboards, community
> murals and hand-painted signs. A movie about the ephemeral sights of the
> city, with a rocking soundtrack of local music and the confused
> interjections of passers-by.
>
>10/26
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>4:15pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT
>
> BREAK ON THROUGH
> GHOST ALGEBRA (Janie Geiser / USA 2009 / 8 min) "Under erratic skies, a
> solitary figure navigates a landscape of constructed nature and broken
> bones. She peers through a decaying aperture, waiting and watching: the
> fragility of the body is exposed for what it is: ephemeral, liquid, a
> battlefield of nervous dreams." STILL RAINING, STILL DREAMING (Phil
> Solomon / USA 2009 / 15 min) Videogaming was never meant to be this way:
> uncanny and elegiac in tone, poignant and considered in practice. By
> betraying the violent subtext of his source material, Solomon has found
> genuine poetry in the desolate spaces of digitally constructed worlds.
> SO SURE OF NOWHERE BUYING TIMES TO COME (David Gatten / USA 2010 / 9
> min) The windows of a small antique store in the Rocky Mountains
> displays carefully arranged curiosities - specific objects each with
> their attendant histories. Visible traces of past uses, previous lives,
> secrets and significance. FORMS ARE NOT SELF-SUBSISTENT SUBSTANCES
> (Samantha Rebello / UK 2010 / 22 min) Words, concepts, things.
> Referencing Aristotle and illuminated manuscripts, Rebello asks 'What is
> substance?' Romanesque stone carvings are measured against latter-day
> beasts, seeking parity between medieval perception and a present-day
> embodiment. FACTS TOLD AT RETAIL (AFTER HENRY JAMES) (Erin Espelie / USA
> 2010 / 9 min) "The author of The Golden Bowl acts as the confessed
> agent, and the glass through which every image is reflected or filtered
> takes on a kind of consciousness." COSMIC ALCHEMY (Lawrence Jordan / USA
> 2010 / 24 min) A voyage in the celestial realm, out beyond
> consciousness, steered by a master of mystical transformation. Wondrous
> visions are charted on star maps from the Harmonia Macrocosmica to a
> spellbinding drone track by John Davis.
>
>10/26
>London, England: Horse Hospital
>http://thehorsehospital.com
>7:30 PM , The Horse Hospital Colonnade, Bloomsbury London WC1N 1JD
>
> GRAND DETOUR PRESENTS HEAVY META: HIGHLIGHTS FROM THE SUMMER SCREENING
> SERIES
> Grand Detour focuses on curating exhibitions and presentations from both
> established and up-and-coming artists. Additionally we act as a venue
> for touring shows and individuals wishing to premiere new films, videos,
> installations, and performances. The Heavy Meta tour showcases a 60-70
> minute presentation of film and video highlights featuring highlights
> from our popular Summer Screening series. The program (which will also
> travel throughout the United States this Winter) features short
> experimental works by Vanessa Renwick, Jon Behrens, Karl Lind, Julie
> Perini, Carl Diehl, Ben Popp, and others. Grand Detour founding member
> Dustin Zemel will use the tour to network with similar arts
> organizations and microcinemas in Glasgow, London and Berlin, discussing
> the future and pertinence of creative digital media exchanges in the
> realm of experimental film and video art. As much as Grand Detour is
> passionate about making connections in Portland, we are equally invested
> in bringing together the international media arts community. Its our
> goal to make it that much easier for artists and organizations to find
> each other and seek out new audiences for screenings and discourse.
>
>10/26
>New York, New York: New York Women in Film and Television/NYWIFT
>www.nywift.org/newletter.aspx?ID=2586
>7:00 p.m., Anthology Film Archives, 32 Second Avenue at Second Avenue,
>
> MYTHIC REALITIES: ANN DEBORAH LEVY AND LILI WHITE
> MYTHIC REALITIES: Ann Deborah Levy and Lili White. Anthology Film
> Archives, 2nd Street at Second Avenue, Tuesday, October 26th, 7:00pm. A
> New York Women in Film and Television (NYWIFT) screening. The films and
> videos of these two artists consider myths that cut across world
> cultures and history as they are juxtaposed against our contemporary
> consciousness. Levy focuses on how the human mind twists reality in
> perception, memory, imagination, and creation, revealing the film as
> product of these distortions. White's videos explore relationships of
> power and repression throughout history. Both artists make richly visual
> films, Levy through lush images captured on 16mm film, White through
> extensive manipulation of the video image during the editing process. To
> purchase tickets (space is limited) and for further information visit:
> http://www.nywift.org/newsletter.aspx?ID=2586
>
>10/26
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>7:00 pm, 32 2nd Avenue
>
> NEW YORK WOMEN IN FILM AND TELEVISION PROGRAM
> MYTHIC REALITIES: ANN DEBORAH LEVY AND LILI WHITE The films and videos
> of these two artists consider myths that cut across world cultures and
> history as they are juxtaposed against our contemporary consciousness.
> Levy focuses on how the human mind twists reality in perception, memory,
> imagination, and creation, revealing the film as product of these
> distortions. White's videos explore relationships of power and
> repression throughout history. Both artists make richly visual films,
> Levy through lush images captured on 16mm film, White through extensive
> manipulation of the video image during the editing process. ANN DEBORAH
> LEVY: WATERSCAPE: illusions (2007, 52 minutes, 16mm) WATERCOLORS (2007,
> 13 minutes, 16mm, silent) For further information on Levy's work, visit:
> www.resonantimages.com. LILI WHITE: S/tr:w/EET WALK (2009, 19 minutes,
> video) GOT 'CHA (2007-09, 5 minutes, video) BALLOON GARDEN (2006, 6.5
> minutes, video) For further information on White's work, visit:
> www.liliwhite.com. Total running time: ca. 100 minutes.
>
>10/26
>Reading, Pennsylvania: Berks Filmmakers, Inc
>http://www.berksfilmmakers.org
>7:30 pm, Albright College Center for the Arts
>
> MIKE KUCHAR IN PERSON
> Mike Kuchar returns to Berks with 9 newly minted mini-DV masterworks
> (west-coast living seemingly agreeing with his creative spirits). Always
> gracing his audience with a memorable program, tonight's show will
> include: Medusa's Gaze (2010, 12 min.); Echo's Garden (2010, 12 min.);
> The Dreamer's Tale (2010, 16 min.); Idolatry (2010, 12 min.); along
> with,a host of other new video visions.
>
>---------------------------
>WEDNESDAY, OCTOBER 27, 2010
>---------------------------
>
>10/27
>London, England: BFI London Film Festival
>http://www.bfi.org.uk/lff
>2:30pm, Natural History Museum, Cromwell Road, London, SW7 5BD
>
> DAVID GATTEN'S JOURNAL AND REMARKS
> JOURNAL AND REMARKS (David Gatten / USA 2009 / 15 min) plus extended
> discussion. David Gatten, one of the most accomplished young film
> artists to emerge in recent years, returns to London to discuss a visit
> to the Galapagos Islands and screen the film he photographed there. The
> journey was an opportunity to follow in the footsteps of the naturalist
> Charles Darwin, whose expedition in the 1830s shaped the theory of
> evolution. The islands off the west coast of Ecuador have changed little
> since that time and still sustain a unique array of endemic species. In
> the absence of predatory mammals, native animals do not fear humans,
> enabling Gatten to shoot in close proximity to such exotic creatures as
> giant tortoises and blue-footed boobies. 'The sights I was able to see -
> and the images I was able to capture - are remarkably similar to the
> things Darwin saw.' Shuttling between these observations and texts from
> an early edition of Voyage of the Beagle, the film is structured in
> accordance with Leonardo's proposal to divide the hour into 3000 equal
> measures. Along with SHRIMP BOAT LOG (also showing in the Festival), it
> forms part of a forthcoming cycle titled CONTINUOUS QUANTITIES. This is
> a free event presented as part of Nature Live, in association with the
> Natural History Museum. Please arrive early to avoid disappointment.
>
>10/27
>San Francisco, California: San Francisco Cinematheque
>http://www.sfcinematheque.org
>7:30 pm, Victoria Theatre, 2961 16th St. (near Mission St.)
>
> REMEMBERING DENNIS HOPPER: CURTIS HARRINGTON'S NIGHT TIDE
> co-presented with Cosmic Hex in association with The Vortex Room
> [members: $5 / non-members: $10] ----- Curtis Harrington (1926-2007)
> stands as an underappreciated figure in the history of West Coast
> avant-garde filmmaking. Deeply inspired by the surrealistic ethos of
> compatriot Maya Deren, Harrington's early poetic films works, which
> recall the work of his occasional collaborator Kenneth Anger, are
> studies of fantasy and subtle atmospheres, glimpses into fantastical
> realms equally glamorous and occult. This belated memorial screening to
> this undersung auteur includes a very rare screening of his 1955 short
> The Wormwood Star (featuring Marjorie Cameron) and his first feature
> film, the equally rare, Night Tide (1961), featuring the late great
> Dennis Hopper (1936-2010) in his first leading role. Inspired largely by
> the atmospheric approach to horror pioneered by Val Lewton and James
> Whale, Night Tide is a somnambulistic dream film of sailors and sirens,
> set on the seaside boardwalks of Southern California. Prints Courtesy of
> Academy Film Archive. (Steve Polta)
>
>--------------------------
>THURSDAY, OCTOBER 28, 2010
>--------------------------
>
>10/28
>Chicago, Illinois: Conversations at the Edge
>http://www.saic.edu/cateblog
>6pm, Gene Siskel Film Center, 164 N. State St
>
> UNDER THE CEMENT, SEDIMENT: RECENT VIDEO IN AND AROUND CHINA
> Curator Pablo de Ocampo in person! In Yang Zhenzhong's 2003 video
> Spring Story, a group of 1,500 employees at a Siemens factory recite an
> oft-cited line from a 1992 Deng Xiaoping speech: "A planned economy is
> not equivalent to socialism, because there is planning under capitalism
> too; a market economy is not capitalism, because there are markets under
> socialism too." This speech is now seen as a milestone in the creation
> of China's new hybrid economy, which embraces both socialist and free
> enterprise forces. Curated and introduced by Pablo de Ocampo, Artistic
> Director of the Images Festival in Toronto, the works in this program
> examine the country's recent political and economic transformations
> through its urban and industrial landscape. Additional pieces include
> Chen Chieh-Jen's haunting Factory (2003), shot in an abandoned textile
> factory with its former employees re-enacting their work amidst the
> ruins; Oliver Husain's Swivel (2005), which consists of a continuous
> panning shot of a hyper developed and glossy Shanghai; and Zhao Liang's
> City Scene (2005), which captures street life in Beijing in a series of
> short vignettes. Multiple artists, 2003-05, Canada/China/Germany/Taiwan,
> multiple formats, ca. 90 min. PABLO DE OCAMPO (1976, Phoenix, AZ)
> lives in Toronto, Canada, where he is the Artistic Director of the
> Images Festival, Canada's largest platform for the exhibition of
> experimental and innovative film and video art practice. Prior to his
> post at Images, de Ocampo resided in Portland, Oregon, where co-founded
> the experimental film screening series Cinema Project and was the
> Executive Director of the Independent Publishing Resource Center.
>
>10/28
>New York, New York: Microscope Gallery
>http://www.microscopegallery.com
>6-9pm, 4 Charles Place - Bushwick - Brooklyn NY 11221
>
> CINEMATONS AND OTHER WORKS BY GéRARD COURANT
> In exhibition from October 28th to November 14th OPENING RECEPTION ON
> THURSDAY OCTOBER 28TH 6 - 9 PM Microscope Gallery is honored to exhibit
> for the first time in the U.S., and in its entirety, the epic
> CINEMATONS, a 154-hour, more than 30-year project by French film-maker
> and cinephile Gérard Courant /// An adventure begun in 1978 and running
> through October of this year, CINEMATONS is the longest film in history
> and features 4-minute silent portraits of the artists, directors and
> others who devote themselves to the art of cinema from renowned
> Hollywood director's to the avant-garde including: Jean-Luc Godard,
> Sergueï Paradjanov, Wim Wenders, Félix Guattari,Terry Gilliam, Samuel
> Fuller, Joseph Losey, Jonas Mekas, Peter Kubelka, Pedro Costa, John
> Giorno, Derek Jarman, Philippe Garrel, Lou Castel, Jean-Marie Straub,
> Danièle Huillet, Olivier Assayas, Ben Vautier, Robert Kramer, Michael
> Snow, Mike Kuchar, Jean-Jacques Lebel, Manoel De Oliveira, Raul Rouiz,
> Marco Bellocchio, Mario Monicelli, Ken Loach, Joseph Morder, Boris
> Lehman, Dominique Noguez, Jackie Raynal, Paul Sharits. /// A propos,
> eminent philosopher Michel Foucault wrote: "It would be a mistake to
> think that Cinématon has to do with sadism or fetishism. There is no
> sadistic or masochist kind of link between the people that are filmed
> and the person that films them. It's rather a sort of
> suffering-pleasure. Pleasure to be in front of the camera. Suffering
> because you have to stay there. You could even argue that this suffering
> and this pleasure are inseparable, that they are not two qualities that
> complete each other but rather one and the same quality. This is of
> course wanted by those who agree to submit to the rules of Cinématon.
> The simple fact of agreeing to this game implies a certain will to chain
> yourself to the camera and, when the film is being shot, a desire to
> liberate yourself, to go, to abandon everything and say: Stop!". /// A
> multi award-winning project, shot mostly in Super8 and continued later
> on in video, CINEMATONS is more than the longest film of the human
> history, it is the revolutionary, silent song of the ones who live for
> their passions. /// We will extend our hours to project the entire work
> over 17 consecutive days, 9 hours a day from October 28 to November 14.
> Other works by Courant will also be on display. /// The gallery is
> located on a dead end street at the intersection of Myrtle and
> Willoughby Avenues, 1 block East and the first left after Bushwick Ave.
> Nearest Subway - J/M/Z Myrtle Ave/ Broadway stop Walk down the subway
> stairs and straight across Broadway, continue along Myrtle Ave until you
> hit the first major intersection (Bushwick Ave). Cross Bushwick. Charles
> Place is the next left. We are behind LIttle Skips' Cafe. From L Train -
> Jefferson Street Turn Right on Troutman (south), left on Evergreen,
> right on Willoughby, right on Charles Place. For more info, call
> 347.925.1433 or visit: www.microscopegallery.com
>
>10/28
>San Francisco, California: San Francisco Museum of Modern Art
>http://www.sfmoma.org
>7:00 p.m., 151 Third Street
>
> WITCHES!
> Introduced by Gina Basso, public programs associate, SFMOMA Season of
> the Witch, George Romero, 1973, 85 min., 35mm Suspiria, Dario Argento,
> 1977, 92 min., 35mm Start the Halloween weekend early with this
> bewitching double feature of rarely screened 1970s horror classics. In
> Season of the Witch Romero brings us the engrossing tale of a suburban
> housewife who seeks escape from her banal life through a foray into the
> world of witchcraft. Argento's stunningly cinematic Suspiria, one of the
> last films shot in Technicolor, follows an American ballet student
> studying abroad who uncovers her academy's dark secret. $5 general; free
> for SFMOMA members or with museum admission (requires a free ticket,
> which can be picked up in the Haas Atrium).
>
>10/28
>San Francisco, California: Artists Television Access
>http://www.atasite.org/
>8PM, 992 Valencia Street @ 21st Street
>
> ELECTRONIC CINEMA
> myrmyr will perform a score for a work by Sue-C. Kadet Kuhne will
> perform scores for Ruminant, a new film directed by Paul Clipson and two
> films by Maia Cybelle Carpenter, Sans Titre and Site Visit. For more
> information: www.volumeprojects.org or www.atasite.org Curated by:
> VOLUME and Kadet Kuhne | A limited-edition DVD of the five commissions
> will be produced. Support for this project is provided by Southern
> Exposure's Alternative Exposure Grant Program. Co-presented by SF
> Cinematheque
>
>10/28
>San Francisco, California: Artists Television Access
>http://www.atasite.org/
>8pm $6-$10, 992 Valencia at 21st
>
> ELECTRONIC CINEMA
> Sound artists perform live scores for films by experimental filmmakers.
> myrmyr will perform a score for a work by Sue-C. Kadet Kuhne will
> perform music scores for a new film directed by Paul Clipson and two
> films by Maia Cybelle Carpenter. For more info:
> http://www.atasite.org/2010/10/electronic-cinema-2/
>
>------------------------
>FRIDAY, OCTOBER 29, 2010
>------------------------
>
>10/29
>Cambridge, Massachusetts: Harvard Film Archive
>http://hcl.harvard.edu/hfa
>7pm, 24 Quincy street
>
> STILL JOURNEY ON - THE FILMS OF ROBERT GARDNER
> Robert Garnder in person October 29 and 30 for screenings of "New Work
> and Forsaken Fragments" and "Artist Films"
>
>--------------------------
>SATURDAY, OCTOBER 30, 2010
>--------------------------
>
>10/30
>New York, New York: Millennium Film Workshop
>http://www.millenniumfilm.org/
>8pm - Admission $8/$6 members, 66 East 4th Street
>
> PERSONAL CINEMA SERIES - PS3* PEDRO SANCHEZ3
> Pedro Sanchez3, born in Madrid, Spain and based in New York City, uses a
> range of media to produce expressive, penetrating art works and films to
> document his life's journey between Tokyo, New York, and Madrid. As
> someone grounded in an international language, his work contains an
> array of diverse approaches to the film medium. Over two decades, he has
> created a series of large scale site-specific installations informed by
> an early engagement with sculpture, painting, short films, and video
> art.----"The illogical and abrupt or ritualistic actions are not symbols
> that require interpretation or conclusion. They are merely symptoms of
> persistently questioned inconclusiveness, that is why the experience of
> these films means having to take a mental journey that yields no
> answer."- PS3*----PROGRAM - GOVERNOR'S ISLAND (12 min. 2010), ONI (7.5
> min. 2005), CONEY ISLAND (10 min. 2010), ALICE ENCOUNTER (5 min. 2008),
> ENTERTAINMENT (14 min. 2004).
>
>10/30
>New York, New York: Microscope Gallery
>http://www.microscopegallery.com
>7PM, 4 Charles Place - Bushwick - Brooklyn NY 11221
>
> SOUNDS LIKE? - JEANNE LIOTTA
> Jeanne Liotta, film-maker, curator, performer, researcher, and academic
> ventures across the East River to our Bushwick gallery next Saturday
> 10.30 with her record player, audio recordings, Youtube channel works,
> and videos including her most recent piece "Crosswalks" (original format
> is 35mm) which premiered at this year's New York Film Festival. We are
> looking forward to this special and improvisational night and hope you
> will join us!.../// Stylistic contaminations for record player, youtube,
> music/and/video, from the contrived and crafted to the perfect-as-is.
> Including fragments and sketches of point n shoot field recording
> research gathered on my zerojeanli youtube channel, with other discreet
> short works over the years motivated by a tense and lively engagement
> with music and sound. J L All video/audio program by Jeanne Liotta.
> PROGRAM: WHAT MAKES DAY AND NIGHT 1998, 16mm, 9', sound This 1940's
> artifact is coupled with music by Nino Rota to expose the existential
> skeleton in the closet: our perilous journey on the planet Earth. A
> readymade film with the barest of interventions.../ HYMN TO THE VOID
> (documentation) 2006, originally a 16mm sound film and hymn board loop
> installation Work for the Night is coming.../ HEPHAESTUS OF THE AIRSHAFT
> 2005, DV, 3', sound The god of metallurgy manifests in Manhattan, with
> the radio on.../ SWEET DREAMS 2009, screen captures / DV, midi sound
> files Shot on location in Second Life at Beneath the Tree That Died by
> AM Radio, screen captures by Sunshine Hernandoz, editing by Jeanne
> Liotta. Commissioned for the second annual PDX Festival Experimental
> Filmmaker Karoke Throwdown.../ SUTRO 2009, digital video, 3', sounds by
> Scanner (from Lauwarm Instrumentals) Animated portrait of the eponymous
> television tower on the hill, guardian of fog and electronic signals in
> that earthshaking city by the Bay.../ CROSSWALK 2010, 35mm, 19', stereo
> sound Uyo-realism from the streets of Loisaida. The Cinema is an
> explosion of my love for reality - Pier Paolo Pasolini (It will be
> projected in the digital version).../// From the ordinary George Ives
> taught his son to respect the power of vernacular music. As a Civil War
> band leader he understood how sentimental tunes such as Stephen Foster
> 's songs, marches and bugle calls were woven into the experience of war
> and the memories of soldiers. Charles Ives came to associate everyday
> music with profound emotions and spiritual aspirations. One of his
> father's most resonant pieces of wisdom came when he said of a
> stonemason's off-key hymn singing: "Look into his face and hear the
> music of the ages. Don't pay too much attention to the sounds--for if
> you do, you may miss the music. You won't get a wild, heroic ride to
> heaven on pretty little sounds." - Jan Swafford... More info &
> directions @ www.microscopegallery.com
>
>10/30
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>4:15 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: ARSENAL
> by Alexandr Dovzhenko No English intertitles; English synopsis
> available, 1928-29, 87 minutes, 35mm One of Dovzhenko's few completely
> independent films, from script to screen. ARSENAL is a civil war epic
> envisioned in unusual, painterly images: a fallen soldier - drunk on the
> enemy's laughing gas - his frozen body still baring its teeth long after
> the battle and his life are over.
>
>10/30
>San Francisco, California: Other Cinema
>http://www.othercinema.com/
>7:30pm, Artists' Television Access, 992 Valencia
>Street, San Francisco, CA 94110
>
> WAR OF THE GARGANTUAS + GODZILLA FANTASIA +
> Editor of the national J-Pop mag Otaku, Patrick Macias and August Ragone
> respond to the Halloween call with a titanic tribute to the storied
> director of the original Godzilla, Ishiro Honda. With more than a nod
> towards the recently released Mushroom Clouds and Mushroom Men: The
> Fantastic Cinema of Ishiro Honda, the provocative pair of kaiju fanboys
> contextualize Honda's prolific career, which saw the production of
> Rodan, Mothra, The Mysterians, Monster Zero, Destroy All Monsters,
> Terror of Mechagodzilla, Atragon, and Battle in Outer Space (the latter
> two excerpted here). Starring Russ Tamblyn, the 16mm Gargantuas is
> Honda's 1966 effort, in which two hairy humanoids spawned from
> Frankenstein's monster (!) wreak havoc on-where else?-Tokyo. Free hot
> sake! Doors open at 7:30 for cinematic trick-or-treats; come in cosplay!
> *8pm showtime.
>
>------------------------
>SUNDAY, OCTOBER 31, 2010
>------------------------
>
>10/31
>New York: Anthology Film Archives
>http://www.anthologyfilmarchives.org/
>4:15 pm, 32 2nd Avenue
>
> ESSENTIAL CINEMA: EARTH
> by Alexandr Dovzhenko No English intertitles; English synopsis
> available, 1929-30, 82 minutes, 35mm A poetic expression of love for
> both nature and Ukrainian culture by the man who was alternatively
> branded a deserter by Ukrainians and a Ukrainian nationalist by Russian
> Soviets. Dovzhenko champions the progression of life, class struggle,
> and new attitudes for a town changed by a tractor and a fallen hero.
>
>
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