TMHMC IS LOCATED AT 51 McCOPPIN ST, SF CA 94103 (NEAR THE CORNER OF MARKET & VALENCIA) . ALL SHOWS BEGIN AT 8 PM. $5 DONATION. tel: (415) 431-4007
friday April 18 at 8pm
Bruce Cooper and Timoleon Wilkins in person
Colorado's own native sons open TMH's calendar with an evening
of recent and past films, including several new 16mm Kodachrome
original camera rolls. Cooper and Wilkins, who now live in Denver
and S.F. respectively, grew up up a mere few mile away from each
other & studied at the University of Colorado but did not
meet until Wilkins saw Cooper's Romance in Solitude (16mm,
29min., 1993) which Cooper made while living in S.F.. "It's
an epic work of personal quest, isolation, gutsy inspiration and
cinematic history which offers the best summation of what it means
to be transplanted from the wide blue yonder of Colorado to the
madness of city culture".(TW) Also to be screened: Below
Angel World by Timoleon Wilkins (16mm, 11 min.,1993) "an
evening song of dissolution and a serenade to a fallen world:
the city as beloved and as temptation"(BC), Blue Sun Western
(16mm, 9 min., 1995) by Wilkins, the uncovering of a personal
landscape in images/sounds from the history of the West, and camera
rolls from Cooper's work-in-progress, Blue.
friday May 2 at 8pm
Helma Sanders-Brahm's Germany, Pale Mother
How has German cinema attempted to tell the war? One of the strategies
is through focusing upon the dynamics of the universal given-
the fractured family. One film which perhaps more than any other
tries to engage this question is Helma Sanders-Brahm's Deutschland,
bleiche Mutter (16mm, 110 mins., 1980). For husband and wife,
the experience of war is so radically different in emotional and
psychic terms as to condemn each to suffer and desire in solitude.
But it is during the postwar years dedicated to rebuilding and
reconstructing the devastated country that the inverse symmetrical
destruction of the family becomes evident, rendering the father
emotionally absent and sadistic and the mother a literal physical
cripple and social pariah. It dramatizes as no other narrative
feature film has, a woman's resistance to re-entering a reconstituted
patriarchy and the total ravaging which it results in.
friday, May 16 at 8pm
Writes Yuko, "Those days when synthesizers and computers were the prized possessions of a limited number of universities and other institutions are over and instead, these items can be found cluttering the tops of kotatsu (a low table with a heat source underneath) in small boarding houses in these same areas. I myself first came into contact with computers when the company I worked at bought a Macintosh. During my breaks, I would play with the freeware I had been given, and I began to get caught up in the fun of making sounds with the Mac. Eventually, I went ahead and installed some music applications of my own to "privatize" the machine, and with this software made concert fliers and 'zines. But when they found out, I was shown the door. There's always one unethical person (laughter) in every situation. So it seems to follow that contemporary computer music can be composed, performed and recorded in any room with a kotatsu (actually it doesn't even have to be a kotatso).
An important figure in Tokyo's computer music underground, Yuko Nexus6 visits us tonight with her electro-acoustic collaborators (for the first time since 1994, when she performed alone at TMH on her Mac to the controversial African termite documentary Castles of Clay).
Three of the "Experimental Tokyo" musicians, Yuko Nexus6,
Yasuhiro Ohtani and Satoru Wono will be performing compositions
from their new CD with SF Insane Cat artists David Majka on sax
and Bruce Bowell on skins. Combining Mac based sampling, jazz
guitar, and turntables, this event promises to be memorable. These
artists have been involved in projects as diverse as John Zorn's
COBRA, interactive multimedia, and the reconstruction of Japanese
folk songs in the Osaka dialect. Visual stimulation provided by
TMH image bank.
friday May 23 at 8pm
Canyon Cinema, one of the nation's oldest and largest artist-run film distributors, recently had a $15,000 NEA grant rescinded because the organization "...lacked artistic integrity" and ostensibly because it continues to distribute "controversial" films. To counter the increasingly frustrating, absurd and insulting battle against the ill-fated National Endowment for The Arts, tonight we attempt to stage a quiet revolution of intelligent discussion. We offer a positive alternative for a multigenerational, questioning and critical community. This evening, participate in a celebration of Canyon's uncompromising vitality with guest moderators Edith Kramer, Director of the Pacific Film Archive and one of the founding organizers of Canyon Cinema; and Physical Chemist, Emery Menefee, an early participant in Canyon Cinema screenings and publications. As fuel for our fire, we will screen a number of Canyon films which have been censored over the years.
Films include: Bleu Shut by Robert Nelson, Multiple Orgasm by
Barbara Hammer, Cosmic Ray by Bruce Conner, 10/65: Self Mutilation
by Kurt Kren, Tr'cheot'my P'y by Julie Murray, and more! (All
proceeds benefit Canyon Catalog #8)
friday June 13 at 8pm
Brian Frye here and Vito Acconci somewhere related
On the near-eve of his departure to NYC, phenomenon minded uber-kid Brian Frye presents a provocative body of films and videos culled from several years of intense activity in the Bay Area. Brian's work is conceptual, funny, historically astute and "beautiful, just beautiful"-Larry Jordan. Screening tonight: Nausea, Something About Aphasia, Expression & Meaning, Interventions (or Brian Frye by Brian Frye), The Most Important Moment in My Life (Infinite Set), Striptease, and Film About Time.
Though Brian has less body hair (note Striptease), for the purpose
of this evening, we have chosen Vito Acconci to function as Brian
Frye's counterpart; let us now decide whether their work has some
affinity. So tonight you will have the rare opportunity to see
some of Acconci's previously unavailable super-8 films on video:
Openings, Three Adaptation Studies, and Three Relationship
Studies.
friday June 27 at 8pm
ROY COHN/JACK SMITH (90 minutes, color, 16mm on video, directed by Jill Godmilow, 1994) "is a cinematic translation of theatre piece in which the extraordinary actor, Ron Vawter interprets the already doubled roles of Roy Cohn- Joe McCarthys' red-baiting, reactionary and racist prosecutor, a person who conducted a ferocious battle against the civil rights of homosexuals, although a closeted homosexual himself, and of Jack Smith, avant-garde filmmaker of the scandal-provoking Flaming Creatures and father of performance art, for whom homosexuality was itself the essence of his creative genius. These two men, who had nothing in common except their death from AIDS in the late 1980's, are resurrected in a contrast of stance, from which is born, little by little, a sensation of undoing, of sadness, of finitude."-Gianni Rondolino
Ron Vawter on Jack Smith: "A lot of people say that Jack
only had about 12 ideas, but that they were the most important
12 ideas of the last 25 years. People like Andy Warhol, Robert
Wilson and Richard Foreman hung on what Jack would do next, for
he created a theatrical universe that no one had ever seen before,
with him at the center. It was dream time that he put on the stage,
with a blend of Brechtian and Artaudian influences. Things could
get very wild and chaotic.
TMHMC IS LOCATED AT 51 McCOPPIN ST, SF CA 94103 (NEAR THE CORNER OF MARKET & VALENCIA) . ALL SHOWS BEGIN AT 8 PM. $5 DONATION. tel: (415) 431-4007
Back to Total Mobile Home home