Part 2 of 2: This week [October 8 - 16, 2011] in avant garde cinema
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FRIDAY, OCTOBER 14, 2011
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10/14
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6p, Paramount Center: Bright Family Screening Room 559 Washington Street
YANQUI WALKER AND THE OPTICAL REVOLUTION
Emerson Presents—Director Kathryn Ramey in Person Filmmaker and
anthropologist Kathryn Ramey's award winning films operate at the
intersection of experimental film and socio-cultural research. We are
pleased to welcome Ramey to the Paramount to present a program of her
work, including her recent video Yanqui WALKER and the OPTICAL
REVOLUTION, an exploration of the obscure American expansionist and
military dictator William Walker, who through force and coercion became
president of Nicaragua in 1856.
10/14
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St.
WERNER SCHROETER/ELFI MIKESCH: A VOICE THAT LINGERS
Jack H. Skirball Series $10 [students $8, CalArts $5] U.S. premiere
Werner Schroeter (1945–2010) created one of the most significant oeuvres
of the New German Cinema, a legacy of more than 20 visually and aurally
stunning features, among them Willow Springs (1973), Palermo oder
Wolfsburg (1980), Malina (1991), and Deux (2002). His intimate
collaborations with divas such as Magdalena Montezuma, Candy Darling,
Ingrid Caven, Maria Callas, and Isabelle Huppert go beyond mere camp:
Schroeter's protagonists exhaust themselves in music, melodrama, or
visual excess to express consuming passions. When love is gone and death
has come, he once said, "the expression remains, like a quake, a
shivering sensation." Schroeter had shot most of his earlier films, but,
beginning with Der Rosenkönig (1986), experimental filmmaker Elfi
Mikesch became his regular DP, and she went on to accumulate extensive
footage on his work and, in particular, the last four years of his life.
This two-night program includes the U.S. debut of Mikesch's insightful,
affectionate documentary Mondo Lux – Die Bilderwelten Des Werner
Schroeter (2011, "Mondo Lux – The Visual Worlds of Werner Schroeter")
and a selection of Schroeter's work, notably the cult film Der Tod der
Maria Malibran (1972, "The Death of Maria Malibran"), one of Michel
Foucault's favorites. In person: Elfi Mikesch (pending) Curated by Steve
Anker and Bérénice Reynaud Funded in part with generous support from the
Goethe-Institut Los Angeles. "Schroeter's flair for lush visuals and
heightened emotions introduced an operatic sensibility to the New German
Cinema movement." — Dave Kehr, The New York Times
10/14
Montreal, Quebec, Canada: Festival Du Nouveau Cinema, Montreal
http://www.beyond2000.co.uk/umbrella/
1pm, J. A. De Sèves Theatre, Concordia University, Montreal
RINSE, REPEAT, RESTORE - CONFERENCES OF MARK TOSCANO AND GUSTAV DEUTCH ON
FILM ARCHIVE
Ces conférences ont lieu à l'Université Concordia le 14 octobre, dans le
cadre du cycle Rinse, Repeat,Restore. Pénétrez sous les voûtes des
archives filmiques telles que les connaissent l'archiviste et
restaurateur Mark Toscano et le cinéaste Gustav Deutsch.
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SATURDAY, OCTOBER 15, 2011
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10/15
Boston, Massachusetts: TIE
http://www.experimentalcinema.com/index.htm
7:30PM, Aviary Gallery, 48 South Street, Jamaica Plain
NEW AND UNSEEN SUPER-8 FILMS BY BOSTON FILMMAKERS
Special(?) guest curator: Frankie Symonds Featuring films by Luther
Price, Saul Levine, Shawn Cotter, Adam Paradis, Gordon Nelson, Tara
Merenda Nelson, Lana Z. Kaplan, L.J. Frezza and more! Also, a special
reading from acclaimed poet Ted Richer!
10/15
Los Angeles, California: Redcat
http://www.redcat.org/
6:00pm, 631 West 2nd St.
WERNER SCHROETER/ELFI MIKESCH: A VOICE THAT LINGERS
Jack H. Skirball Series $10 [students $8, CalArts $5] U.S. premiere
Werner Schroeter (1945–2010) created one of the most significant oeuvres
of the New German Cinema, a legacy of more than 20 visually and aurally
stunning features, among them Willow Springs (1973), Palermo oder
Wolfsburg (1980), Malina (1991), and Deux (2002). His intimate
collaborations with divas such as Magdalena Montezuma, Candy Darling,
Ingrid Caven, Maria Callas, and Isabelle Huppert go beyond mere camp:
Schroeter's protagonists exhaust themselves in music, melodrama, or
visual excess to express consuming passions. When love is gone and death
has come, he once said, "the expression remains, like a quake, a
shivering sensation." Schroeter had shot most of his earlier films, but,
beginning with Der Rosenkönig (1986), experimental filmmaker Elfi
Mikesch became his regular DP, and she went on to accumulate extensive
footage on his work and, in particular, the last four years of his life.
This two-night program includes the U.S. debut of Mikesch's insightful,
affectionate documentary Mondo Lux – Die Bilderwelten Des Werner
Schroeter (2011, "Mondo Lux – The Visual Worlds of Werner Schroeter")
and a selection of Schroeter's work, notably the cult film Der Tod der
Maria Malibran (1972, "The Death of Maria Malibran"), one of Michel
Foucault's favorites. In person: Elfi Mikesch (pending) Curated by Steve
Anker and Bérénice Reynaud Funded in part with generous support from the
Goethe-Institut Los Angeles. "Schroeter's flair for lush visuals and
heightened emotions introduced an operatic sensibility to the New German
Cinema movement." — Dave Kehr, The New York Times
10/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JORDAN/LEVITT/MAAS PROGRAM
Larry Jordan DUO CONCERTANTES (1962-64, 6 minutes, 16mm, b&w) HAMFAT
ASAR (1965, 13 minutes, 16mm, b&w) GYMNOPEDIES (1968, 6 minutes, 16mm)
THE OLD HOUSE PASSING (1966, 45 minutes, 16mm, b&w. Preserved by
Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 minutes. New
35mm print!) "Fantastic landscapes of the mind is what make the unique
work of San Francisco animator Larry Jordan so compelling. With a taste
for nostalgic romanticism for intricate turn-of-the-century
illustrations, Jordan creates a magical universe of work using old steel
engravings and collectable memorabilia. His 50-year pursuit into the
subconscious mind gives him a place in the annals of cinema as a
prolific animator on a voyage into the surreal psychology of the inner
self." - Jackie Leger Helen Levitt IN THE STREET (1952, 12 minutes,
16mm, b&w. Preserved by Anthology Film Archives.) Helen Levitt's short,
lyrical documentary portrait of life in Spanish Harlem. Stealthily shot
by Levitt, Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE
BODY (1943, 7 minutes, 16mm, b&w. Preserved by Anthology Film Archives.)
"The terrors and splendors of the human body as the undiscovered,
mysterious continent." - W.M. Total running time: ca. 105 minutes.
10/15
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, ATA, 992 Valencia Street
LO-TECH HI-JINX
GERRY FIALKA'S PXL THIS 20 FEST! Honoring media-theorist Marshall
McLuhan as part of a worldwide centenary, we welcome back one of his
fiercest and funniest proponents with a program of videos made on
audio-cassette! This current iteration of Fialka's long-running fest
embodies McLuhan's bold ideas about democratic communication tools.
Among the movies made with the Fisher-Price PXL 2000 toy camcorder are:
Jesse Drew's Dolby, Mariko Drew's It's a Lemonhead, tENTATIVELY a
cONVENIENCE's Philosopher's Union, and other pieces by Gerry himself,
Paolo Davanzo, and a sneak preview of Michael Koshkin's feature-doc on
this cult format. Come early for 2-bit beer, free vinyl records, and
David Cox on the Optigan (another media-archaeological oddity)!
10/15
Toronto, Ontario, Canada: Pleasure Dome
http://www.pdome.org/
7pm, Trash Palace, 89-B Niagara St.
PATRICK KEILLER'S ROBINSON IN RUINS
Robinson in Ruins (2010), the final film in Patrick Keiller's Robinson
Trilogy, takes its conceit from the "found" notebooks and film canisters
of the titular character Robinson as he crosses the English countryside
expounding upon a myriad of millennial anxieties and premonitions of
late capitalist collapse. Released from prison at the start of the 2008
recession, Robinson is enlisted to help a network of non-human
intelligences in preserving the possibility of survival on the planet by
searching for "the molecular basis of historical events." The wandering
cinematographer Robinson is a flâneur of the pre-apocalyptic era,
vividly recording the rural and agrarian landscape and explicating the
history of financial markets, civil uprising and the ruins of the 21st
century. Narrated by Robinson's ex-lover and co-researcher (Vanessa
Redgrave) the elegiac journey of a great philosopher, poet and prophet
of demise receives its timely Toronto premiere following widespread
rioting across the UK and amidst paradigm-shifting unrest and
uncertainty in the face of global austerity and economic crisis.
Keiller's insights (which Redgrave breathes into life with savoury) are
accompanied by mesmeric images that pursue a landscape of the past for
its tidings of the future.
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SUNDAY, OCTOBER 16, 2011
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10/16
Boston, Massachusetts: TIE
http://www.experimentalcinema.com/index.htm
7:30PM, SCATV 90 Union Square, Somerville, MA
MY FAVORITE COLOR IS BLUE
"My Favorite Color Is Blue": A cinematic meditation on youth,
regression, trouble-making, and transcendence. Featuring TIE programmer
Chris May in person. With films by Frank Biesendorfer, Stan Brakhage,
Jesse Kennedy and more! All films projected in Super-8mm or Standard 8mm
$5
10/16
Montreal, Quebec, Canada: Festival Du Nouveau Cinema, Montreal
http://www.beyond2000.co.uk/umbrella/
8pm, the Agora du Coeur des Sciences de l'UQÀM. (174 ave. President Kennedy, Montreal). All performances are FREE
POR LA NOCHE VOLVIó DELIRANDO "TODO ES AGUA”
Using multiple 16-mm projectors, suspended screens and quadraphonic
sounds, Malena Szlam and Radwan Ghazi Moumneh conspire to create a
dreamlike world in permanent flux.
10/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: HOLLIS FRAMPTON PROGRAM
ZORNS LEMMA 1970, 60 minutes, 16mm, color. "A major poetic work. Created
and put together by a very clear eye-head, this original and complex
abstract work moves beyond the letters of the alphabet, beyond words and
beyond Freud. If you don't understand it the first time you see it,
don't despair, see it again! When you finally 'get it,' a small light,
possibly a candle, will light itself inside your forehead." –Ernie Gehr
& HAPAX LEGOMENA I: (nostalgia) 1971, 36 minutes, 16mm, b&w. "Nostalgia,
beginning as an ironic look upon a personal past, creates its own filmic
time, a past and future generated by the expectations elicited by its
basic disjunctive strategy." –Annette Michelson "In nostalgia the time
it takes for a photograph to burn (and thus confirm its
two-dimensionality) becomes the clock within the film, while Frampton
plays the critic, asynchronously glossing, explicating, narrating,
mythologizing his earlier art, and his earlier life, as he commits them
both to the fire of a labyrinthine structure; for Borges too was one of
his earlier masters, and he grins behind the facades of logic,
mathematics, and physical demonstrations which are the formal metaphors
for most of Frampton's films." –P. Adams Sitney
10/16
San Francisco, California: MisALT Screening Series
http://www.othervixen.com/misalt.html
8pm, Artist Television Access 992 Valencia St
MISALT SCREENING SERIES PRESENTS: GLITCH VS SCRATCH
MisALT Screening Series Presents: Glitch vs Scratch. Sunday, October
16th, 2011. 8pm , $6.00 Artist Television Access 992 Valencia St. San
Francisco, CA The MisALT Screening Series is excited to present its
October screening: "Glitch vs. Scratch." This screening seeks to create
a dialog between artists working in Scratch Cinema (film based practices
that make interventions on the celluloid level) and Glitch based video
and media practices (which manipulate images by exploiting
vulnerabilities on the molecular and electron level of video tape and
code), to bridge the gap between work that focuses on the material
underpinnings of cinema and work that brings attention to the often
invisible foundation that lies beneath digital media. The bubbling,
flickering, abstractions of decaying, damaged, and melting celluloid
meet the frantic and ghostly distortions of mangled signals and scripts.
Featuring: Jodie Mack, "Unsubscribe #3: Glitch Envy" Tsen-Chu Hsu
(Taiwan), "Cotton Sugar" Florian Cramper (Netherlands), "How to
picturize two Kafka short stories within one hour in a hotel room"
Charlotte Taylor, "Secrets" Péter Lichter (Hungary), "Light Sleep"
Alberto Cabrera Bernal (Spain), "12 Erased Trailers" Christine Lucy
Latimer (Canada), "MOSAIC" Anna Geyer, "Good Bye Pig" Nick Briz, "Binary
Quotes" Adam R. Levine, "Koh" Michael Betancourt w/ FsLux, "One" Steven
Ball(UK) "The War on Television" Lili White, "Got 'Cha" Drone Dungeon
"Phantom Wegman I-III" Channel TWO "In a []" Ted Davis "What makes up a
Surprising Image" Lennon Batchelor "Focus on the Family" Curated by
Tessa Siddle
10/16
Washington, DC: National Gallery of Art
http://www.nga.gov
4:00, National Mall between 3rd and 9th Streets at Constitution Avenue NW.
AMERICAN ORIGINALS NOW: LYNNE SACHS
October 16, 23 East Building Concourse, Auditorium The ongoing film
series American Originals Now offers an opportunity for discussion with
internationally recognized American filmmakers and a chance to share in
their artistic practice through special screenings and conversations
about their works in progress. Since the mid-1980s, Lynne Sachs has
developed an impressive catalogue of essay films that draw on her
interests in sound design, collage, and personal recollection. She
investigates war-torn regions such as Israel, Bosnia, and Vietnam,
always striving to work in the space between a community's collective
memory and her own subjective perceptions. Sachs teaches experimental
film and video at New York University and her films have screened at the
Museum of Modern Art and the Buenos Aires, New York, and Sundance Film
Festivals. Her work was recently the subject of a major retrospective at
the San Francisco Cinemathèque. Lynne Sachs: Recent Short Films October
16 at 4:00 East Building Concourse, Auditorium Lynne Sachs in person
Three short films exemplify Sachs' unique approach to nonfiction
filmmaking and to the empathetic process of imagining other people's
motivations. Photograph of Wind (2001, 16 mm, 4 minutes) is a portrait
of the artist's daughter as witnessed by the eye of the storm; The Last
Happy Day (2009, 37 minutes) uses personal letters, abstracted images of
war, home movies, and a performance by children to understand the
complex story of Sachs' distant cousin, Sandor Lenard, a Hungarian
medical doctor who fled the Nazis and reconstructed the bones of
American dead; and Wind in Our Hair (2010, 42 minutes) is a bilingual
narrative inspired by the stories of Argentine writer Julio Cortázar.
(Total running time approximately 83 minutes)
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