From: Weekly Listing (email suppressed)
Date: Mon Oct 25 2010 - 10:27:16 PDT
SENDING AGAIN; apparently the last email didn't get through to Frameworks. -- Scott
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. … 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. … [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 shorts…
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.
Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker: http://www.hi-beam.net
_______________________________________________
FrameWorks mailing list
email suppressed
http://mailman-mail5.webfaction.com/listinfo/frameworks