This week [November 19 - 27, 2011] in avant garde cinema
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NEW CALLS FOR ENTRIES:
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Images Festival (Toronto; Deadline: November 14, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1378.ann
DEADLINES APPROACHING:
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Go Short - International Film Festival Nijmegen (Nijmegen, the Netherlands; Deadline: November 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1319.ann
Strange Beauty Film Festival 2012 (Durham, North Carolina USA; Deadline: December 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1329.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1339.ann
Experiments in Cinema v7.9 (Albuquerque, New Mexico USA; Deadline: December 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1343.ann
The Big Muddy Film Festival (Carbondale, IL; Deadline: December 09, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1352.ann
RiverRun International Film Festival (Winston-Salem, NC, USA; Deadline: December 16, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1353.ann
Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 26, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1363.ann
Best Shorts Competition (La Jolla, Ca USA; Deadline: December 16, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1367.ann
Periwinkle Cinema _at_ ATA (San Francisco, CA, USA; Deadline: December 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1371.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Avant To Live [November 19, Atlanta, Georgia]
* Joshua Churchill/ Paul Clipson, John Davis / Kerry Laitala, En / John
Davis [November 19, Oakland, California]
* Psycho-Geography [November 19, San Francisco, California]
* Radical Light: Procession of the Image Processors [November 20, Houston, Texas]
* Radical Light: Landscape As Expression [November 20, Houston, Texas]
* Alarms From the 60s: Experiments In Political Expression [November 20, Los Angeles, California]
* Collapse Into Image [November 21, Los Angeles, California]
* Early Monthly Segments #33 = Chambers + Holt + Smithson [November 21, Toronto, Ontario, Canada]
* Essential Cinema: Grant, Jacobs & Fleischner Program [November 26, New York, New York]
* Essential Cinema: Tom, Tom, the Piper's Son [November 26, New York, New York]
* Essential Cinema: Genet/Frank & Leslie Program [November 26, New York, New York]
* Sex Trafficing [November 26, San Francisco, California]
* Essential Cinema: Melies Program 1 [November 27, New York, New York]
* Essential Cinema: Melies Program 2 [November 27, New York, New York]
* Essential Cinema: Melies Program 3 [November 27, New York, New York]
Events are sorted by CITY within each DATE.
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SATURDAY, NOVEMBER 19, 2011
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11/19
Atlanta, Georgia: Contraband Cinema
http://contrabandcinema.com
8pm, 696 Charles Allen Drive
AVANT TO LIVE
An evening of Avant-Garde Cinema! Camera-less works, glitch animation,
16mm film lit by fireflies, static datamoshing, archival collage, excel
animation, and hand-painted films made by leading fine-art filmmakers
working within the region and the globe. Four filmmakers in person!
"Sounding Glass" Sylvia Schedelbauer, 10 min, 2011; "Memory Lapse" Anna
Spence, 2 min, 2011; "Excel Animation" Takuro Masuda, 2 min, 2011; "One"
Michael Betancourt, 2 min, 2011' "Untitled SP #1" Christopher Childs, 6
min, 2008; "Fall Creek Road Study #6" Robbie Land, 6 min, 2011; "Matters
of Bioluminescence" Robbie Land, 8 min, 2011
11/19
Oakland, California: Liminal Space
http://www.noiseforlight.com/projects.html
Saturday, November 19 at 8:00pm, 950 54th St.
JOSHUA CHURCHILL/ PAUL CLIPSON, JOHN DAVIS / KERRY LAITALA, EN / JOHN
DAVIS
On Saturday November 19th we have the extraordinary pleasure of
presenting live sound and film projection collaborations by local
artists: Joshua Churchill + Paul Clipson
http://www.joshuachurchill.com/0.htmlhttp://www.withinmirrors.org/John
Davis + Kerry Laitala
http://www.noiseforlight.com/projects.html
http://kerrylaitala.net/En + John Davis
http://biezumd.com/http://www.noiseforlight.com/projects.html*Plus, we
will begin our evening of manipulated time & space with a special
opening meditation by Michael Elrod!* Contribution: $5 - 10 sliding
scale
11/19
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, ATA, 992 Valencia Street
PSYCHO-GEOGRAPHY
: REGINATO + BERGER + KASHMERE + MCAFFERY A compass of compelling pieces
pivoting on place and the sensibility it in-forms, tonight takes a
South/North tack through the three neighboring nations of North America.
The show's starting section looks at Mexico through Angela Reginato's
(in person) W-I-P Luna Conejo, a half-hr. coming-of-age in Mexico City.
AND Greg Berger flies up from Cuernavaca to debut his Narcomania, a
wickedly comic critique of the drug cartels through the Pop-Cult lens of
Beatlemania! After intermission, we play with the problematics of
Canadian identity in Brett Kashmere's insightful essay on their national
pastime of hockey, Valery's Ankle. Completing the continental circuit is
Brigid McCaffrey's 16mm meditation on SoCal topography, Castaic Lake.
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SUNDAY, NOVEMBER 20, 2011
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11/20
Houston, Texas: Museum of Fine Arts, Houston
http://mfah.org
2pm, 1001 Bissonne
RADICAL LIGHT: PROCESSION OF THE IMAGE PROCESSORS
Introduced by Steve Seid and Michael Sicinski. A reception and book
signing in the museum galleries follows this program. As computer and
video technology evolved in the second half of the twentieth century,
media artists found dynamic new possibilities by adapting their
filmmaking practices to another medium's uncanny capabilities. Film
chains bollixed, optical printers nudged, and chemistry and electronics
merged. Hy Hirsh, an early practitioner, combined buoyant optical
printing with sensuous oscilloscope waveforms in his Divertissement
Rococo (1951). Scott Bartlett took a bounty of film loops and ran them
through video colorizers and keyers to achieve the legendary Offon
(1968), a spiritual journey centered on the body. Philip Greene's Golden
Gate (1968) de-centered film-based images for a painterly portrait with
a decidedly anti-war theme. With Illuminated Music #1 (1972), Stephen
Beck shows off the well-modulated movements possible with a synthesizer.
Composer Warner Jepson's Self-Portrait (1975) is excerpted in the
program.
11/20
Houston, Texas: Museum of Fine Arts, Houston
http://mfah.org
5pm, 1001 Bissonne
RADICAL LIGHT: LANDSCAPE AS EXPRESSION
Introduced by Steve Seid, Scott Stark, and Michael Sicinski. San
Francisco and the surrounding Bay Area offer an astonishing landscape
that combines shifting and surprising natural visual qualities with a
teeming urban culture. The area is a magnet for wanderers and those
seeking something new and unexpected. Filmmakers, fascinated by the
phenomena and energy of the place, have been drawn here almost since the
inception of the medium. Tonight's program reflects the wonder of this
urban landscape with eight films made throughout the twentieth century.
The program opens with the silent classic A Trip Down Market Street
(1906), followed by gems from Bruce Baillie and Abigail Child, two
shorts from guest filmmaker Scott Stark�Degrees of Limitation (1982) and
Slow (2001)�and Ernie Gehr's epic Side/Walk/Shuttle (1991).
11/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)
ALARMS FROM THE 60S: EXPERIMENTS IN POLITICAL EXPRESSION
In person: Stanton Kaye, Bill Norton, Penelope Spheeris (Schedules
permitting). Films to be screened: Coming Soon (Bill Norton, 1966,
5min.), The National Rehabilitation Center (Penelope Spheeris, 1969,
12min.), unc. (Bruce Lane, 1966, 3min.), And On The Sixth Day (Christina
Hornisher, 1966, 6min.), Georg (Stanton Kaye, 1964, 50min.).
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MONDAY, NOVEMBER 21, 2011
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11/21
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St.
COLLAPSE INTO IMAGE
Jack H. Skirball Series $10 [students $8, CalArts $5] Drawn from some of
the most distinctive media installations of the last few years, this
program showcases projects by artists who translate their extended,
multifaceted creative processes onto the picture plane of the moving
image and, through this transposition, invite new thinking about time,
space, actions and materials. The selection includes recent works by
Erika Vogt, known for her rich and rigorous practice of abstracting
images and layering media. Also featured are Alex Hubbard's often
humorous, always thought-provoking videos, wherein painterly surfaces
exist only to be dismantled, as in his most spatially complex piece to
date, The Border, The Ship (2011). William E. Jones, meanwhile,
salvages, alters, manipulates, or recontextualizes archival footage and
photography, challenging the opposition between flatness and depth while
deconstructing the relationship between power and imagemaking�vividly
shown in Spatial Disorientation (2011), which is receiving its
theatrical premiere. In person: William E. Jones, Erika Vogt, Alex
Hubbard (pending) Curated by Madison Brookshire. "Erika Vogt is among
the most skilled of these artists who have been undoing the conventional
limits of digital image-making with equal urgency and efficacy. Her work
demonstrates a sophisticated understanding of photographic media and its
ambiguous plasticity." � Catherine Taft, Art Review "Hubbard uses
flowers, balloons, plastic letters, and other mundane things in bizarre,
at times aggressive ways, calling attention to their purpose and
altering them through a series of vaudevillian maneuvers." � Lauren
O'Neil Butler, Artforum "Jones' repetitions feel luxurious, seductive,
like the hook of a slow jam that breaks the moment when the needle skips
� and, yes, poetic... Its horizontal language is rearranged, revealing
new possibilities for vertical meanings, compressed energies,
interstitial and even illicit desires." � Michael Sicinski, CinemaScope
11/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
730 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #33 = CHAMBERS + HOLT + SMITHSON
This evening features three films on time and perception by three visual
artists who also left their imprints on film. Robert Smithson actively
and articulately imagined and wrote about the possibilities of cinema,
so it is our pleasure to rescue his film from its usual expository
position on a monitor in a museum's dark corner. Nancy Holt's Swamp
finds her lost in the reeds of a New Jersey swamp, trying to follow the
voice of Smithson as he stays just ahead of her, out of sight. We are
confined by her view of the surroundings as she stumbles through the
rushes, completely unable to get our bearings in the swirling imagery.
In contrast, Jack Chambers' Circle stays in one place, the relative
placidity of Chambers' backyard in London, Ontario. The central section
of the film consists of a small patch of that yard, filmed every morning
for a year. The result vividly marks the changing of the seasons and
extrapolates beautifully on the passage of time as an accumulation of
mundane moments, each weighted with personal experience. Finally, Robert
Smithson's Spiral Jetty is more than a documentary about the making of
the eponymous landscape sculpture. Within the film, Smithson is
predominantly interested in the scale of time, mapping the elements of
the jetty�the mud, salt crystals, rocks, water�back to their Jurassic
beginnings. The film is a necessary companion to the sculpture itself,
utilizing cinema to articulate how the jetty elongates time's passage.
The majestic final helicopter shot almost asks the question: might the
spiral be built from the bones of the dinosaurs? Programme: Swamp, Nancy
Holt, 1971, 16mm, USA, 6 minutes, sound Circle, Jack Chambers, 1969,
16mm, Canada, 28 minutes, sound Spiral Jetty, Robert Smithson, 1970,
16mm, USA, 35 minutes, sound email: earlymonthlysegments _at_ gmail.com for
email list!
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SATURDAY, NOVEMBER 26, 2011
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11/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: GRANT, JACOBS & FLEISCHNER PROGRAM
Dwinell Grant COMPOSITION #2 CONTRATHEMIS 1941, 5 minutes, 16mm, color,
silent. "An attempt to develop visual abstract themes and to
counterpoint them in a planned, formal composition." �D.G. "Austere and
chaste combinations, with subtle manipulation of structure, density and
rhythm."�William Moritz STOP MOTION TESTS 1942, 3 minutes, 16mm, color,
silent. A self-portrait. COLOR SEQUENCE 1943, 3 minutes, 16mm, color,
silent. "Pure solid-color frames which fade, mutate and flicker. A
research into color rhythms and perceptual phenomena." �William Moritz
Ken Jacobs LITTLE STABS AT HAPPINESS 1959-63, 18 minutes, 16mm, color.
Featuring Jack Smith. "Material was cut in as it came out of the camera,
embarrassing moments intact. 100' rolls timed well with music on old
78s. I was interested in immediacy, a sense of ease, and an art where
suffering was acknowledged but not trivialized with dramatics. Whimsy
was our achievement as well as breaking out of step." �K.J. Ken Jacobs &
Bob Fleischner BLONDE COBRA 1959-63, 35 minutes, 16-to-35mm blow-up,
b&w/color. Featuring Jack Smith. Preserved by Anthology, with the
generous support of The Film Foundation, The National Film Preservation
Foundation, Simon Lund and Cineric, Inc. "BLONDE COBRA is an erratic
narrative � no, not really a narrative, it's only stretched out in time
for convenience of delivery. It's a look in on an exploding life, on a
man of imagination suffering pre-fashionable Lower East Side deprivation
and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying,
guilt-strictured and yet triumphing � on one level � over the situation
with style� enticing us into an absurd moral posture the better to
dismiss us with a regal 'screw off.'" �K.J. Total running time: ca. 70
minutes.
11/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TOM, TOM, THE PIPER'S SON
by Ken Jacobs 1969, 115 minutes, 16mm An absolute masterpiece from one
of the most inspiring innovators of modern cinema. "Original 1905 film
shot and probably directed by G.W. 'Billy' Bitzer, rescued via a paper
print filed for copyright purposes with the Library of Congress. It is
most reverently examined here, absolutely loved, with a new movie,
almost as a side effect, coming into being." �K.J.
11/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: GENET/FRANK & LESLIE PROGRAM
Jean Genet UN CHANT D'AMOUR 1950, 26 minutes, 16mm, b&w, silent. Jean
Genet's poetic expression of male eroticism pitted against the confines
of prison cells and a homophobic state� a powerfully resonant work that
explores individual freedom and the laws of desire. Robert Frank &
Alfred Leslie PULL MY DAISY 1959, 28 minutes, 35mm, b&w. A largely
spontaneous experiment, arranged in 1959 by Robert Frank along with
Alfred Leslie. They enlisted the participation of Jack Kerouac, who
offered in place of an original screenplay a stage play he'd never
finished writing, "The Beat Generation." The plot is based on an
incident in the life of Neal Cassady and his wife Carolyn. They're
raising a family and trying to fit in with their suburban neighbors, and
one night they invite a respectable neighborhood bishop over for dinner.
But Neal's Beat friends crash the party, and that Marx Brothers-like
scenario is the closest thing the film has to a storyline. Total running
time: ca. 60 minutes.
11/26
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, ATA, 992 Valencia Street
SEX TRAFFICING
MIMI CHAKAROVA'S THE PRICE OF SEX Introduced by photo-essayist Mark
Brecke, UCB luminary Mimi Chakarova is here in person to present this
unprecedented and compelling inquiry into a dark side of immigration.
Feature-length, The Price of Sex sheds light on the underground criminal
network trafficking Eastern European women, forced into prostitution
abroad. Traveling from her home country through Greece, Turkey, to
Dubai, Bulgarian-born photo-journalist Chakarova caps years of
painstaking on-the-ground reporting�even posing as a prostitute to
gather her material�filming undercover with extraordinary access.
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SUNDAY, NOVEMBER 27, 2011
-------------------------
11/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MELIES PROGRAM 1
All films in this program are b&w and silent. THE CONJUROR /
L'ILLUSIONISTE FIN DE SI�CLE (1899, 1 minute, 35mm) TRIP TO THE MOON /
VOYAGE DANS LA LUNE (1902, 12 minutes, 35mm) THE PALACE OF THE ARABIAN
NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 minutes, 35mm)
DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF � L'HUILE (1907, 5
minutes, 35mm) MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU
DIABLE (1906, 18 minutes, 35mm) Magician, master of special effects,
M�li�s broke with the realistic (Lumi�re) mode of cinema and celebrated
unlimited fantasy and artificiality (in its best sense). Total running
time: ca. 60 minutes.
11/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MELIES PROGRAM 2
The films on this program are hand-tinted and silent. THE CASCADE OF
FIRE / LA CASCADE DE FEU (1904, 3 minutes, 35mm) A DIABOLICAL TENANT /
UN LOCATAIRE DIABOLIQUE (1909, 8 minutes, 35mm) THE HUNCHBACK FAIRY / LA
F�E CARABOSSE (1906, 13 minutes, 35mm) VOYAGE ACROSS THE IMPOSSIBLE / LE
VOYAGE � TRAVERS L'IMPOSSIBLE (1904, 20 minutes, 35mm) Total running
time: ca. 50 minutes.
11/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MELIES PROGRAM 3
All films in this program are b&w and silent. EXTRAORDINARY ILLUSIONS /
ILLUSIONS FUNAMBULESQUES (1903, 3 minutes, 16mm) THE ENCHANTED WELL / LE
PUITS FANTASTIQUE (1903, 3 minutes, 16mm) THE APPARITION / LE REVENANT
(1903, 3 minutes, 16mm) TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA
MANCHE (1907, 25 minutes, 16mm) SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN
OU LES MESAVENTURES D'UN BUVEUR (1909, 5 minutes, 16mm) THE DOCTOR'S
SECRET / HYDROTH�RAPIE FANTASTIQUE (1909, 11 minutes, 16mm) Total
running time: ca. 55 minutes.
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Received on Sat Nov 19 2011 - 16:14:32 CST
