[Frameworks] Part 1 of 2: This week [March 26 - April 3, 2011] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Mar 26 09:22:55 CDT 2011
Part 1 of 2: This week [March 26 - April 3, 2011] in avant garde cinema
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ITEM FOR SALE:
==============
Crooked Beauty DVD's
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=30.ann
Book - Recipes for Reconstruction
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=29.ann
NEW FILM/VIDEO: NON-FEATURE:
============================
"Crooked Beauty" by Ken Paul Rosenthal
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=465.ann
"Duck and Cover, Charlie Brown" by Mike Celona
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=462.ann
"Attempt" by Brook Hinton
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=463.ann
"My Latest Abstract Video" by Neil Ira Needleman
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=464.ann
NEW CALLS FOR ENTRIES:
=====================
Basement Media Fest (cambridge, ma, usa; Deadline: July 16, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1286.ann
13th ANNUAL ARTSFEST FILM FESTIVAL (harrisburg, PA, USA; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1287.ann
VIDEOHOLICA (Varna, Bulgaria; Deadline: June 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1288.ann
Synthetic Zero Event / {S0NiK}Fest (Bronx, NY, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1289.ann
The Short Film Project (London, UK; Deadline: April 09, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1290.ann
Museum of Pocket Art and Grand Detour Present: How Micro Can You Go? (Portland, OR; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1291.ann
Museum of Pocket Art Spring Video Show (Portland, OR, USA; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1292.ann
DEADLINES APPROACHING:
======================
Centrespace Gallery (Bristol, UK; Deadline: March 31, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1258.ann
Cut and Run (California, USA; Deadline: April 07, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1262.ann
Margaret Mead Film & Video Festival (New York, NY; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1266.ann
LIFT (Toronto, Ontario, Canada; Deadline: April 11, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1267.ann
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1268.ann
Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1270.ann
Silver Salt Animation Festival (Mumbai, Maharashtra, India; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1274.ann
The Indie Fest (La Jolla, Ca USA; Deadline: April 29, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1278.ann
Hot Springs Documentary Film Festival (Hot Springs National Park, Ark; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1280.ann
The Journal of Short Film (Columbus, Ohio USA; Deadline: April 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1281.ann
Wimbledon SHORTS (UK; Deadline: April 19, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1285.ann
13th ANNUAL ARTSFEST FILM FESTIVAL (harrisburg, PA, USA; Deadline: April 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1287.ann
Synthetic Zero Event / {S0NiK}Fest (Bronx, NY, USA; Deadline: April 15, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1289.ann
The Short Film Project (London, UK; Deadline: April 09, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1290.ann
Museum of Pocket Art and Grand Detour Present: How Micro Can You Go? (Portland, OR; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1291.ann
Museum of Pocket Art Spring Video Show (Portland, OR, USA; Deadline: April 21, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1292.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* The Art of Time, By Fergus Daly & Katherine Waugh, Artists In Person [March 26, Brooklyn, New York]
* Jordan Belson: Films Sacred and Profane [March 26, Los Angeles, California]
* Dave Lee [March 26, New York, New York]
* Sat. 3/26: Rachel + Greene's Olympia-Rafah Murals+ [March 26, San Francisco, California]
* Florida Filmmaker Atlantic & Pacific Production Awards Screening [March 26, Tampa, FL]
* Dana Plays' New Work Exquisit Corpses At Time Travels: Explorations [March 26, Tampa, FL]
* Avant-Garde Showcase Images of Nature, Or the Nature of the Image:
Canadian Artists At Work [March 27, Boston, Massachusetts]
* Artisan Films of Paolo Gioli [March 27, Bristol]
* Long Live Our Love: New Works By Laida Lertxundi, Michael Robinson, and
Ben Russell [March 27, Los Angeles, California]
* Essential Cinema: Tom, Tom, the Piper's Son [March 27, New York]
* Return To the Scene of the Crime [March 27, New York]
* Anaglyph Tom [March 27, New York]
* J.X. Williams' Cabinet of Curiosities [March 27, Paris, France]
* Takahiko iimura: 60s Experiments & Conceptual videos [March 28, Brooklyn, New York]
* Victory Over the Sun: Films and videos By Michael Robinson [March 28, Los Angeles, California]
* Artisan Films of Paolo Gioli [March 29, Leeds, United Kingdom]
* Au Hasard Balthazar [March 29, Reading, Pennsylvania]
* Courtisane Festival 2011 [March 30, Gent, BELGIUM]
* Tony Cokes: Notes On Evil (And Others) [March 31, Chicago, Illinois]
* Radical Light: In Search of Christopher Maclaine [March 31, San Francisco, California]
* Sfmoma and Sf Cinematheque Present <I>In Search of Christopher Maclaine:
Man, Artist, Legend</I> [March 31, San Francisco, California]
* San Francisco Cinematheque Presents Radical Light: <I>In Search of
Christopher Maclaine: Man, Artist, Legend</I> [March 31, San Francisco, California]
* Erika Beckman: the Piaget Trilogy [April 1, New York]
* Artist In Focus : Sylvain George [April 2, Ghent, Belgium]
* Artist In Focus : Robert Fenz [April 2, Ghent, Belgium]
* Essential Cinema: Rice/Richter/Sharits Program [April 2, New York]
* Erika Beckman: the Piaget Trilogy [April 2, New York]
* Erika Beckman: the 16mm Films [April 2, New York]
* Sat. 4/2: Clandestine + Banksy + Pranks + [April 2, San Francisco, California]
* Artist In Focus : Robert Beavers [April 3, Ghent, Belgium]
* Gaining Consciousness: An Evening With Gary Kibbins [April 3, Los Angeles, California]
* Essential Cinema: Ss:Tream:S:S:Ection:S:Ection:S:S:Ectioned [April 3, New York]
* Essential Cinema: the Flower Thief [April 3, New York]
* The Queen of Sheba Meets the Atom Man [April 3, New York]
* 21 Projects: Sparse Gardens By Rick Bahto [April 3, Oakland, CA]
Events are sorted by CITY within each DATE.
------------------------
SATURDAY, MARCH 26, 2011
------------------------
3/26
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place (Bushwick)
THE ART OF TIME, BY FERGUS DALY & KATHERINE WAUGH, ARTISTS IN PERSON
95 minutes, digital video. Admission $6. We welcome Fergus Daly &
Katherine Waugh - visiting from Ireland - to present the NYC premier of
their recent feature "The Art of Time." Featuring discussions with Vito
Acconci, Doug Aitken, Chantal Akerman, Brothers Quay, David Claerbout,
Stan Douglas, Peter Eisenman, Sylvere Lotringer, Ivone Margulies, Paul
Morley, Alexander Sokurov, John Rajchman, Axel Vervoordt, Robert Wilson.
"...The Art of Time asks: how are leading artists and thinkers
responding to today's new and rapidly changing world? It explores how
leading international practitioners in architecture, video art, film,
theatre and philosophy are challenging traditional temporal ideas,
questioning the nature of memory and perception today, and inventing new
and radical notions of Time." - – Fergus Daly and Katherine Waugh Fergus
Daly is a critic and filmmaker based in Ireland, and co-author of Leos
Carax (Manchester University Press, 2003).He's also a contributor to
Movie Mutations (BFI 2003) and Jean-Luc Godard: Documents (Pompidou
Centre 2006). Katherine Waugh is a Galway-based filmmaker, writer and
philosopher. more info: www.microscopegallery.com;
info at microscopegallery.com. Directions: J/M/Z - Myrtle/Broadway Ave.
Walk straight down subway stairs and keep walking straight across
Myrtle. Mr. Kiwi will be on the right. Charles Places is first left
after Bushwick Ave. L - Morgan Ave or Jefferson Street
3/26
Los Angeles, California: Los Angeles County Museum of Art
http://www.lacma.org/programs/FilmListing.aspx#1283970586759
7:30 pm, Bing Theatre, 5905 Wilshire Blvd.
JORDAN BELSON: FILMS SACRED AND PROFANE
Center for Visual Music is pleased to announce our very special
screening at Los Angeles County Museum of Art: Jordan Belson: Films
Sacred and Profane. Since 1947, Belson has explored consciousness,
transcendence, and light in a visionary body of work that has been
called "cosmic cinema": brimming with vibrant color, mandalas, liquid
forms and mesmerizing rhythms. This very special program features rarely
screened films including Caravan (1952), Séance (1959), Cycles (1974,
made with Stephen Beck), a new preservation print of Chakra (1972), and
Belson's latest film, Epilogue (2005), funded by the NASA Art Program
and commissioned by the Hirshhorn Museum (produced on video). The
program also includes Allures, Light, Music of the Spheres and Samadhi.
1952-2005/color/16mm & video/approx 70 min. Program introduced by Cindy
Keefer, curator and archivist, CVM. Presented in association with Center
for Visual Music, www.centerforvisualmusic.org
3/26
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, Millennium Film Workshop, 66 East 4th Street
DAVE LEE
The Millennium is pleased to have Dave Lee back with a program that
contains a mix of his very newest work along with early memorable films
from the 1970s. Lee, as prolific as ever, lives in Washington, DC with
his wife and son. His new pieces come from various serial works he is
producing. They touch on Buddhist ritual, his son and dedication to a
German Artist. On REMEMBERING: CLEARING SPACE- "I have humbly pirated a
snippet of footage shot from 1937-39 of Balinese trance dancing. The
sound track comes from a Balinese. He said, 'When I put on the mask of
Rangda it is as if I remember from moment to moment, but when I take the
mask off my thoughts are as usual.' I have artistically analyzed the
movement so that we too (for a change) can 'remember from moment to
moment'" - D.L. EEL (11 min.-1975) DVDHARMA (13 min.-2008-11) ISLE OF
SPICE (31 min.-2009-10) REMEMBERING: CLEARING SPACE (11 min.-1975)
SHADOW DANCE (7 min.-2009-10) SEVEN FACES OF MAGIC (13 min.-2009-10)
SITTING (15 min.-2009-11)
3/26
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30PM, 992 Valencia Street
SAT. 3/26: RACHEL + GREENE’S OLYMPIA-RAFAH MURALS+
The film that rocked the Jewish Film Festival, Simone Bitton's Rachel is
a startlingly rigorous and deeply moving investigatory documentary that
examines the death of peace activist and International Solidarity
Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army
bulldozer in the Gaza Strip while defending Palestinian homes. Susan
Greene shares excerpts from her doc on murals in both Washington state
and Jerusalem. PLUS Alan Greig's Confronting the Wall, and clips from
Iara Lee's raw footage of the Israeli attack on the Mavi Marmara. A
portion of the proceeds go to the Middle Eastern Children's Alliance,
for clean water in Gaza.
3/26
Tampa, FL: Ybor Festival of the Moving Image
http://www.yborfilmfestival.com/2011/artists_dana_plays.html
2:30, E. Palm and N. 14th Street
FLORIDA FILMMAKER ATLANTIC & PACIFIC PRODUCTION AWARDS SCREENING
Dana Plays will screen new experimental work Exquisit Corpses (Atlantic
and Pacific Prize Merit Award Winner) a formal study that alludes to the
decay of cinema and the advancing of digital film through a series of
devolving images from the history of photography, and early motion
picture technology. Plays uses random chance operations of the exquisite
corpse, by creating vertical triptychs, and mixed frame combinations, of
stacked motion picture footage of Muybridge's horse in motion, Edison
early toys with her own footage shot with a 16mm camera of the subway
train arriving at the station, and animal locomotion study she shot in
high speed digital cinematography. Through complex structural and formal
approaches, including vertical and horizontal structures, Plays visually
explores the intersections between private and public histories, making
metaphorical connections between location, setting and place, oral and
written story telling and refers to the devolving process of history of
motion picture film, from the silent era with use of inter-title text
and image combinations. This piece was made in part with footage Plays
she salvaged from the dumpsters. Dana Plays – Bio Dana Plays is an award
winning experimental filmmaker and digital artists and professor of Film
and Media Arts, in the College of Arts and Letters, at The University of
Tampa. Dana Plays' work was exhibited at the Whitney Museum of American
Art in the exhibition The Color of Ritual, The Color of Women
Avant-Garde Filmmakers in America 1930-2000, programmed by Whitney
curator by Chrissie Isles. Her work has also been exhibited at more than
50 international film festival screenings, including Edinburgh, Montreal
Nouveau, and Seattle International Film Festivals. Her films have
garnered more than 25 film festival awards including the prestigious
First Prize Jurors' Choice Award at the Black Maria Film and Video
Festival for Nuclear Family; Tom Berman Award for Most Promising
Filmmaker at the Ann Arbor Film Festival for Zero Hour; Best
Experimental Film at the Houston International Festival for Across the
Border; and Best Documentary Award at the New Orleans Film Festival for
Love Stories My Grandmother Tells, which also was broadcast on VPRO, a
Dutch national television network. Plays also serves on the Board of
Directors for Canyon Cinema, one of the longest running cooperatives of
experimental film in north America serving international distribution of
avant-garde cinema. See Festival of Moving Image for more info and other
screening times: http://www.yborfilmfestival.com/2011/schedule.html
3/26
Tampa, FL: Ybor Festival of the Moving Image
http://www.yborfilmfestival.com/2011/artists_dana_plays.html
4:00 PM, E. Palm and N. 14th Street
DANA PLAYS' NEW WORK EXQUISIT CORPSES AT TIME TRAVELS: EXPLORATIONS
Dana Plays will screen new experimental work Exquisit Corpses (Atlantic
and Pacific Prize Merit Award Winner) a formal study that alludes to the
decay of cinema and the advancing of digital film through a series of
devolving images from the history of photography, and early motion
picture technology. Plays uses random chance operations of the exquisite
corpse, by creating vertical triptychs, and mixed frame combinations, of
stacked motion picture footage of Muybridge's horse in motion, Edison
early toys with her own footage shot with a 16mm camera of the subway
train arriving at the station, and animal locomotion study she shot in
high speed digital cinematography. Through complex structural and formal
approaches, including vertical and horizontal structures, Plays visually
explores the intersections between private and public histories, making
metaphorical connections between location, setting and place, oral and
written story telling and refers to the devolving process of history of
motion picture film, from the silent era with use of inter-title text
and image combinations. This piece was made in part with footage Plays
she salvaged from the dumpsters. Dana Plays – Bio Dana Plays is an award
winning experimental filmmaker and digital artists and professor of Film
and Media Arts, in the College of Arts and Letters, at The University of
Tampa. Dana Plays' work was exhibited at the Whitney Museum of American
Art in the exhibition The Color of Ritual, The Color of Women
Avant-Garde Filmmakers in America 1930-2000, programmed by Whitney
curator by Chrissie Isles. Her work has also been exhibited at more than
50 international film festival screenings, including Edinburgh, Montreal
Nouveau, and Seattle International Film Festivals. Her films have
garnered more than 25 film festival awards including the prestigious
First Prize Jurors' Choice Award at the Black Maria Film and Video
Festival for Nuclear Family; Tom Berman Award for Most Promising
Filmmaker at the Ann Arbor Film Festival for Zero Hour; Best
Experimental Film at the Houston International Festival for Across the
Border; and Best Documentary Award at the New Orleans Film Festival for
Love Stories My Grandmother Tells, which also was broadcast on VPRO, a
Dutch national television network. Plays also serves on the Board of
Directors for Canyon Cinema, one of the longest running cooperatives of
experimental film in north America serving international distribution of
avant-garde cinema. Other work to be screened includes Plays' Aquifer
and River Madness at the Ybor Festival of the Moving Image, along with
David Montgomery's Elements of Time, Lazlo Horvath's Glory and Dee
Hood's Parallel in a program of experimental films March 23-26. See
Festival of Moving Image for more info:
http://www.yborfilmfestival.com/2011/schedule.html
----------------------
SUNDAY, MARCH 27, 2011
----------------------
3/27
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
7pm, Paramount Center: Bright Family Screening Room 559 Washington St
AVANT-GARDE SHOWCASE IMAGES OF NATURE, OR THE NATURE OF THE IMAGE:
CANADIAN ARTISTS AT WORK
Spanning four decades of Canadian experimental cinema, this program is
comprised of work visually and viscerally engaged with the natural
world, employing an array of aesthetic strategies to depict and comment
on "nature" while simultaneously exploring the nature of the cinematic
image. Including films by Daichi Saito, David Rimmer and Emily Vey Duke
and Cooper Battersby. Curated by Irina Leimbacher; sponsored by the
Canadian Filmmakers Distribution Centre.
3/27
Bristol: Cherry Kino
http://www.leedsfilm.com/programme/cherry-kino
8pm, The Cube Cinema, Bristol
ARTISAN FILMS OF PAOLO GIOLI
Cherry Kino is delighted to present a 16mm screening celebrating the
work of the films of Paolo Gioli at The Cube Cinema in Bristol (27th
March, 8pm) and at the Cherry Kino Lab in Leeds (29th March, 7pm).
Gioli's films frequently renounce what he sees as the commercialism of
film technology, and sheds much of the usual filmmaking equipment in
favour of simpler and more artisanal approaches, "weaning myself from a
consumer technology, a toxin to pure creativity", for example pinhole
films made using objects such as sea shells, his own hand, a loaf of
bread, or even a walnut! The multiple perspectives offered by his
uniquely explorative structural films give cinema the chance for a new
beginning (or for a constant becoming). By whittling away and
hand-shaping the technology, he allows for a pre-original approach to
the moving image - one where the act of becoming aware is intrinsically
bound with the awareness itself. In short, Gioli is a phenomenological
artisan, and his films are treasures to be perceived. Films to be
screened are: Flutter, Filmarilyn, The Perforated Operator, Filmfinish,
When The Eye Quakes, Little Decomposed Film, Film Stenopeico.
3/27
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)
LONG LIVE OUR LOVE: NEW WORKS BY LAIDA LERTXUNDI, MICHAEL ROBINSON, AND
BEN RUSSELL
Laida Lertxundi & Michael Robinson in person! Films to be screened:
Trypps#5 (Dubai), Trypps#6 (Malobi), Trypps#7 (Badlands) by Ben Russell;
Cry When it Happens, My Tears Are Dry, Footnotes to a House of Love by
Laida Lertxundi; Light Is Waiting, If There Be Thorns by Michael
Robinson.
3/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
2:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TOM, TOM, THE PIPER'S SON
by Ken Jacobs 1969, 115 minutes, 16mm Share + This screening is part of:
AUTO-REMAKES Film Notes KEN JACOBS: TOM, TOM, THE PIPER'S SON / RETURN
TO THE SCENE OF THE CRIME / ANAGLYPH TOM Jacobs's 1969 masterpiece is a
landmark of both experimental cinema and film scholarship – a thorough
de- and re-construction of a little-seen 1905 Biograph short. Jacobs
used practically every conceivable editing and camera technique
available to him at the time, looping the film and reversing it, panning
across and zooming in – slicing, dicing, and manipulating his source
material to examine (from every angle) the ways we watch movies. He
returned to the original short some four decades later, now with the
tools of 21st-century digital technology at his disposal, which Jacobs
said allow for "an unbounded freedom of study and playfulness…. Far more
is revealed…and, joined to sound, the old movie even tells a new story."
Jacobs called the effects of the second film "quasi-3D", but when he
reinterpreted TOM, TOM yet again later that same year, he added literal
3D (and an Alan Greenspan cameo!) for another dazzling contemporary look
at this century-old film. [Please note: This is an Essential Cinema
screening, and is FREE for AFA members!]
3/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:15 pm, 32 2nd Avenue
RETURN TO THE SCENE OF THE CRIME
by Ken Jacobs 2008, 92 minutes, video Share + This screening is part of:
AUTO-REMAKES Film Notes KEN JACOBS: TOM, TOM, THE PIPER'S SON / RETURN
TO THE SCENE OF THE CRIME / ANAGLYPH TOM Jacobs's 1969 masterpiece is a
landmark of both experimental cinema and film scholarship – a thorough
de- and re-construction of a little-seen 1905 Biograph short. Jacobs
used practically every conceivable editing and camera technique
available to him at the time, looping the film and reversing it, panning
across and zooming in – slicing, dicing, and manipulating his source
material to examine (from every angle) the ways we watch movies. He
returned to the original short some four decades later, now with the
tools of 21st-century digital technology at his disposal, which Jacobs
said allow for "an unbounded freedom of study and playfulness…. Far more
is revealed…and, joined to sound, the old movie even tells a new story."
Jacobs called the effects of the second film "quasi-3D", but when he
reinterpreted TOM, TOM yet again later that same year, he added literal
3D (and an Alan Greenspan cameo!) for another dazzling contemporary look
at this century-old film.
3/27
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Avenue
ANAGLYPH TOM
by Ken Jacobs 2008, 92 minutes, video Share + This screening is part of:
AUTO-REMAKES Film Notes KEN JACOBS: TOM, TOM, THE PIPER'S SON / RETURN
TO THE SCENE OF THE CRIME / ANAGLYPH TOM Jacobs's 1969 masterpiece is a
landmark of both experimental cinema and film scholarship – a thorough
de- and re-construction of a little-seen 1905 Biograph short. Jacobs
used practically every conceivable editing and camera technique
available to him at the time, looping the film and reversing it, panning
across and zooming in – slicing, dicing, and manipulating his source
material to examine (from every angle) the ways we watch movies. He
returned to the original short some four decades later, now with the
tools of 21st-century digital technology at his disposal, which Jacobs
said allow for "an unbounded freedom of study and playfulness…. Far more
is revealed…and, joined to sound, the old movie even tells a new story."
Jacobs called the effects of the second film "quasi-3D", but when he
reinterpreted TOM, TOM yet again later that same year, he added literal
3D (and an Alan Greenspan cameo!) for another dazzling contemporary look
at this century-old film.
3/27
Paris, France: Les rendez-vous contemporains de Saint-Merry
http://www.jxarchive.org/paris.html
8:30, Eglise Saint-Merry 76, rue de la Verrerie
J.X. WILLIAMS' CABINET OF CURIOSITIES
With Camion Blanc's groundbreaking publication "J.X. Williams: Les
Dossiers Interdits," scholars have begun to reassess the place of
controversial auteur J.X. Williams in cinematic history. Usually known
as a low-budget director of commercial exploitation films, a second look
at his work reveals an avant-garde wolf in sheep's clothing. In this
film program and live presentation, the J.X. Williams Archive opens it
vault to screen a collection of rare cinematic artifacts from its
holdings. Many of these fragments come from feature films that vanished
decades ago. Others offer a sneak preview of works currently undergoing
restoration. Alongside these rarities, we also will screen J.X.
Williams' underground classic "Peep Show" (1965). Program: Psych-Burn
1968 | 16mm | 3:00 / Film #453427 1975 | 16mm | 3:00 / The Virgin
Sacrifice 1969 | 16mm | 9:00 (excerpt) / The Showdown 1975 | 16mm | 8:00
/ Peep Show 1965 | 16mm | 46:00
----------------------
MONDAY, MARCH 28, 2011
----------------------
3/28
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place (Bushwick)
TAKAHIKO IIMURA: 60S EXPERIMENTS & CONCEPTUAL VIDEOS
Admission $6. Reservations recommended. In connection with his current
exhibition BETWEEN THE FRAMES, Takahiko Iimura brings a selection of his
earliest film and video works to Microscope Gallery. The evening will be
divided into two parts: "60 Experiments" with four 16 mm films made
between 1962 & 1964 including IImura's classic AI (LOVE); and "Early
Conceptual Videos", six short video works that contributed to the birth
of conceptual video art. A Q&A will follow the screening. Film program
(42 minutes): 60s EXPERIMENTS Original 16mm films Kuzu (Junks) 1962,
10min., b/w, music by Takehisa Kosugi Ai (Love) 1962, 10min., blown up
from 8mm, b/w, music by Yoko Ono On Eye Rape 1962, 10min., b/w, silent,
Co-Pro. Natsuyuki Nakanishi A dance party in the kingdom of Lilliput
1964, 12min., b/w, sound Video Program (23 minutes): A Chair 1970,
6min., b/w, sound Blinking 1970, 2min., b/w, sound Time Tunnel 1971,
5min., b/w, sound Man and Woman 1971, 2min., b/w Visual Logic (and
Illogic) 1977, 8min., b/w, sound "His [Iimura's] Japanese origins
contributed decisively to his uncompromising explorations of cinema's
minimalist and conceptual possibilities. He has explored this direction
of cinema in greater depth than anyone else. To review all of Iimura's
work…is an important occasion for all who are concerned with the
development and pleasure of cinema as an art." — Jonas Mekas BiO;
Takahiko Iimura is considered the father of Japanese experimental
cinema. He moved to New York in the early 60s and became involved in the
avant garde film and art scene. His work is shown worldwide and has
appeared in recent solo shows at museums including: Museum of Modern
Art, New York, the Whitney Museum, New York, Anthology Film Archives,
New York, Centre George Pompidou, Paris, the National Gallery Jeu de
Paume, Paris, Palais des Beaux-Arts, Brussels, Reina Sofia National
Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo
in addition to an artist residency at the German Academy of Arts,
Berlin, and Bellagio Rockefeller Foundation Study Center, Bellagio,
Italy. IImura currently divides his time between NYC and Tokyo. more
info at: www.microscopegallery.com, info at microscopegallery.com j/m/z -
Myrtle/Broadway Ave (2 blocks away) walk straight down subway stairs,
cross Broadway - with Mr. Kiwi on the right, keeping walking straight
along Myrtle. Charles Place is 1st left after Bushwick Ave. or L -
Morgan Ave or Jefferson Street.
3/28
Los Angeles, California: Redcat
http://www.redcat.org/
8:30 pm, 631 W. 2nd St., Los Angeles, CA 90012
VICTORY OVER THE SUN: FILMS AND VIDEOS BY MICHAEL ROBINSON
West Coast premiere Over the past decade, Michael Robinson has created
a singular body of work in film and video that explores the poetics of
loss and the dangers of mediated experience. His idea of "narrative" and
"experimental" film often includes among its strange and beautiful
effects the emotive power of a pop ballad or the crusty images yielded
by thrift store VHS tapes. Robinson was recently listed as one of the
top ten avant-garde filmmakers of the 2000s by Film Comment, and his
work has been screened in venues such as the International Film Festival
Rotterdam, The New York Film Festival, The Wexner Center for the Arts,
Anthology Film Archives and the Tate Modern, among others. He is
currently a Visiting Professor of Cinema at Binghamton University. The
program includes Victory Over The Sun, Hold Me Now, If There Be Thorns
and the West Coast premiere of These Hammers Don't Hurt Us, among
others. In person: Michael Robinson
-----------------------
TUESDAY, MARCH 29, 2011
-----------------------
3/29
Leeds, United Kingdom: Cherry Kino
http://www.leedsfilm.com/programme/cherry-kino
7pm, Cherry Kino Lab
ARTISAN FILMS OF PAOLO GIOLI
Cherry Kino is delighted to present a 16mm screening celebrating the
work of the films of Paolo Gioli at The Cube Cinema in Bristol (27th
March, 8pm) and at the Cherry Kino Lab in Leeds (29th March, 7pm).
Gioli's films frequently renounce what he sees as the commercialism of
film technology, and sheds much of the usual filmmaking equipment in
favour of simpler and more artisanal approaches, "weaning myself from a
consumer technology, a toxin to pure creativity", for example pinhole
films made using objects such as sea shells, his own hand, a loaf of
bread, or even a walnut! The multiple perspectives offered by his
uniquely explorative structural films give cinema the chance for a new
beginning (or for a constant becoming). By whittling away and
hand-shaping the technology, he allows for a pre-original approach to
the moving image - one where the act of becoming aware is intrinsically
bound with the awareness itself. In short, Gioli is a phenomenological
artisan, and his films are treasures to be perceived. Films to be
screened are: Flutter, Filmarilyn, The Perforated Operator, Filmfinish,
When The Eye Quakes, Little Decomposed Film, Film Stenopeico.
3/29
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www. berksfilmmakers.org
7:30, Albright College Center for the Arts
AU HASARD BALTHAZAR
Au Hasard Balthazar (1966, 95 min.) by ROBERT BRESSON To cut to the
chase, Robert Bresson's heart-breaking and magnificent Au Hasard
Balthazar(1966)—the story of a donkey's life and death in rural
France—is the supreme masterpiece by one of the greatest of 20th-century
filmmakers. Bringing together all Bresson's highly developed ideas about
acting, sound, and editing, as well as grace, redemption, and human
nature, Balthazar is understated and majestic, sensuous and ascetic,
ridiculous and sublime. It would be a masterpiece for its soundtrack
alone. Before the credits are over, solemn Schubert is interrupted by a
prolonged hee-haw. Balthazar, Bresson once explained, was inspired by a
passage in The Idiot where Prince Myshkin tells three giggling girls of
the happiness he experienced upon hearing the sound of a donkey's bray
in a foreign marketplace, and the movie's premise is suitably
'idiotic.'….No one has ever made better use of close-ups, more precisely
delineated off-screen space, or so flawlessly established a dramatic
rhythm. Balthazar is predicated on an astonishing tension between formal
rigor and, as embodied by its protagonist, the random quality of
life….Balthazar bears patient witness to all manner of enigmatic human
behavior. (Even more than Myshkin, he is a spectator.) This
expressionless donkey is the most eloquent of creatures—he is pure
existence, and his death, in the movie's transfixing final sequence,
conveys the sorrow that all existence shares. – J. Hoberman, Village
Voice
-------------------------
WEDNESDAY, MARCH 30, 2011
-------------------------
3/30
Gent, BELGIUM: COURTisane
http://www.courtisane.be/
20:00, various locations
COURTISANE FESTIVAL 2011
COURTISANE FESTIVAL 2011 30 March – 3 April Art Centre Vooruit, Cinema
Sphinx, KASK & Film-Plateau, Ghent. The Courtisane festival celebrates
its tenth anniversary. A reason to be proud, but not an excuse to slow
down. Courtisane looks forward towards the future, with both feet firm
in the present. The search for relevant and alternative cinematographic
forms and experiences brings once again this year a number of surprises.
Resistant and poignant, experimental and reflexive, complex and sensual
: the selection of works in the programme represent a kaleidoscopic
mosaic of styles, media, gestures, languages and emotions; a patchwork
of recent and historical works that share an insatiable hunger for
experimentation and a creative obstinacy. On top of the yearly selection
of recent film and video works by Belgian and international artists,
Courtisane celebrates the work of several "Artists in Focus" : a
committed activist filmmaker (Sylvain George), a poet of 16mm film
(Robert Fenz) and a seminal avant-garde filmmaker (Robert Beavers). They
will each present a selection of their own work as well as a compilation
of works by other filmmakers that have influenced their practice. In the
same context we will present at Vooruit two unique encounters of
cinematographic ingenuity and singular music improvisation: Sylvain
George & William Parker (31 March, Vooruit) and Robert Fenz & Wadada Leo
Smith (1 April, Vooruit). "Film Socialisme" (Jean-Luc Godard), "After
Empire" (Herman Asselberghs), "Qu'ils reposent en révolte (des figures
de guerre)" (Sylvain George), "Meditations on Revolution " (Robert
Fenz), ... Many of the titles in this year's festival programme reveal a
combative questioning of the dominant socio-political system, not only
in terms of a radical philosophical and activist discours, but also
artistically and cinematographically. The question of what "political
cinema" can mean – and what it means to make cinema politically – is the
implicit red thread that runs through the programme of Courtisane 2011.
------------------------
THURSDAY, MARCH 31, 2011
------------------------
3/31
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6:00 pm, Gene Siskel Film Center (164 N. State / 312-846-2600)
TONY COKES: NOTES ON EVIL (AND OTHERS)
Tony Cokes in person! In his incisively witty videos and installations,
Tony Cokes juxtaposes familiar archival footage, Google searches, and
Hollywood imagery with text and popular music to critique the media's
often reductive representations of race and class. This evening's
screening surveys Cokes' career and includes Black Celebration (1988),
selections from the Pop Manifesto project (2000-04) and his on-going
Evil series (2004- ), including the US premiere of Evil.20.b.om.h
(2011). The Pop Manifestos connect the history of pop with a larger,
nefarious matrix of capitalist production. The Evil videos continue the
biting aims of the Pop Manifestos in a more fervently politicized
manner, tackling post 9/11 political flash points—Abu Ghraib, the
Patriot Act, and various speeches of the Bush Administration—to explore
the mediated rhetoric surrounding the US's ongoing "war on terror."
1988-2011, Tony Cokes, USA, multiple formats, ca. 75 mins plus
discussion.
3/31
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7PM, SFMOMA (151 Third Street, between Mission St. & Howard St.)
RADICAL LIGHT: IN SEARCH OF CHRISTOPHER MACLAINE
In the 1950s, San Francisco Beat poet Christopher Maclaine made four
films-The End, The Man Who Invented Gold, Beat and Scotch Hop. These
films-with a collective running time of only sixty minutes-have largely
been located at the margins of film history, the subject of rumor and
speculation, largely unscreened and underappreciated. They have,
nonetheless, exerted a strong influence on the language of cinema,
profoundly influencing and anticipating the work of Stan Brakhage, Bruce
Conner, Robert Nelson and countless others. Entwining the ecstatic and
the absurd to a delirious degree these films never fail to provoke
audience excitement with their hallucinatory and apocalyptic visions.
Radical Light features three essays on the filmmaker-who died in a
mental asylum in 1975-including an interview with Stan Brakhage on
Maclaine by SFMOMA Open Space columnist Brecht Andersch. Scheduled to
appear with Andersch and discuss their work with Maclaine are two of his
collaborators on these early works-actor Wilder Bently II and filmmaker
Lawrence Jordan. Join us for what could possibly be the deepest
exploration yet of the legendary artist described by Brakhage as "San
Francisco's Antonin Artaud."
3/31
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
7 p.m., 151 Third Street
SFMOMA AND SF CINEMATHEQUE PRESENT IN SEARCH OF CHRISTOPHER MACLAINE:
MAN, ARTIST, LEGEND
The End, Christopher Maclaine, 1953, 35 min., 16mm; The Man Who Invented
Gold, Christopher Maclaine, 1957, 14 min., 16mm; Beat, Christopher
Maclaine, 1958, 6 min., 16mm Scotch Hop, Christopher Maclaine, 1959, 5.5
min., 16mm; Sausalito, Frank Stauffacher, 1949, 10 min., 16mm; Trumpit,
Lawrence Jordan, 1956, 6 min., 16mm; Moods in Motion, Ettilie Wallace,
1954, 5 min., 16mm. The four films San Francisco Beat poet Maclaine made
in the 1950s have had an incalculable impact on the language of cinema.
Entwining the ecstatic with the absurd, these works never fail to
provoke audience excitement with their apocalyptic, hallucinatory
visions. Continuing our celebration of the book Radical Light:
Alternative Film and Video in the San Francisco Bay Area, 1945–2000,
Andersch discusses Maclaine's work with Bentley and Jordan, two of the
artist's key collaborators. Wilder Bentley II, actor, and Lawrence
Jordan, filmmaker, in person! Curated and presented by Brecht Andersch.
3/31
San Francisco, California: San Francisco Museum of Modern Art
http://www.sfmoma.org
7 p.m., Phyllis Wattis Theatre
SAN FRANCISCO CINEMATHEQUE PRESENTS RADICAL LIGHT: IN SEARCH OF
CHRISTOPHER MACLAINE: MAN, ARTIST, LEGEND
The End, Christopher Maclaine, 1953, 35 min., 16mm; The Man Who Invented
Gold, Christopher Maclaine, 1957, 14 min., 16mm; Beat, Christopher
Maclaine, 1958, 6 min., 16mm; Scotch Hop, Christopher Maclaine, 1959,
5.5 min., 16mm; Sausalito, Frank Stauffacher, 1949, 10 min., 16mm;
Trumpit, Lawrence Jordan, 1956, 6 min., 16mm; Moods in Motion, Ettilie
Wallace, 1954, 5 min., 16mm; Curated and presented by Brecht Andersch.
Wilder Bentley II and Lawrence Jordan In Person. Tonight's screening
continues San Francisco Cinematheque and SFMOMA's celebration of Radical
Light: Alternative Film & Video in the San Francisco Bay Area,
1945–2000, edited by Steve Anker, Kathy Geritz and Steve Seid, and
published in 2010 by UC Press. In the 1950s, San Francisco Beat poet
Christopher Maclaine made four films— The End, The Man Who Invented
Gold, Beat and Scotch Hop. These rarely screened works have a collective
running time of only sixty minutes, but have nonetheless had an
incalculable impact on the language of cinema. Entwining the ecstatic
with the absurd, Maclaine's films never fail to provoke audience
excitement with their apocalyptic, hallucinatory visions. Radical Light
features two essays on the filmmaker—who died in a state mental hospital
in 1975—as well as an interview with Stan Brakhage about Maclaine by
film historian Brecht Andersch. Tonight Andersch presents highlights
from his research on Maclaine for SFMOMA's blog, Open Space, and
discusses the work of the artist described by Brakhage as "San
Francisco's Antonin Artaud" with two of Maclaine's key
collaborators—actor Wilder Bentley II and filmmaker Lawrence Jordan.
(Brecht Andersch and Steve Polta). $10 general; $7 SFMOMA and San
Francisco Cinematheque members, students, and seniors. Tickets are
available at the Museum (with no surcharge) or online.
---------------------
FRIDAY, APRIL 1, 2011
---------------------
4/1
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ERIKA BECKMAN: THE PIAGET TRILOGY
WE IMITATE; WE BREAK-UP (1978, 30 minutes, Super-8-to-16mm blow-up)
Preserved by the Moving Image Archiving Program at NYU with support from
the National Film Preservation Foundation. "If Beckman's narratives are
often cryptic, her work is preoccupied by a recurring core of themes –
competition, role-playing, and what she calls 'the coordination of the
self in the physical world'. In virtually every one of her movies some
young (usually female) individual learns, through trial and error, how
to act in (or upon) the world. In WE IMITATE a set of life-sized
marionette legs teach the filmmaker/protagonist how to dance and play a
version of soccer, and then chase her all over the lot when she runs
away with the 'loot'." –J. Hoberman THE BROKEN RULE (1979, 25 minutes,
Super-8-to-16mm blow-up) Preserved by Anthology Film Archives with
support from the National Film Preservation Foundation and The Andy
Warhol Foundation for the Visual Arts. Starring artists Mike Kelley,
Matt Mullican, James Welling, and others. "Utilizing
television-commercial stereotypes of women as either laundresses or
cheerleaders and of men as engaged either in sports or commerce (or
both) Beckman creates an ideological satire on sexism and American
capitalism. Riveting in its choreography of space and rhythm, THE BROKEN
RULE is a sort of Marxist musical. Oddly suggestive of Tashlin, the film
is constructed with the precision of an animated work, and with the
formal humor of a George Landow." –Bruce Jenkins, MEDIA STUDY MAGAZINE
OUT OF HAND (1981, 30 minutes, Super-8-to-16mm blow-up) Preserved by
Anthology Film Archives with support from the National Film Preservation
Foundation and The Andy Warhol Foundation for the Visual Arts. "Singsong
voice tracks, jerky robot motions, repetitive gestures, and the iconic
use of sports equipment and cheerleaders characterize Beckman's
mise-en-scene. Beckman frequently links her work to Piaget but, with its
obsessive images of property and loss, OUT OF HAND is an Allstate
Insurance commercial as it might appear to an autistic child." –J.
Hoberman Total running time: ca. 90 minutes.
(continued in next email)
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