[Frameworks] This week [April 14 - 22, 2012] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sun Apr 15 00:19:26 CDT 2012
This week [April 14 - 22, 2012] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Diluvi Privati I" by Andrea Vincenzi
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=498.ann
NEW FILM/VIDEO: FEATURE:
===========================
"Uncle Tad Baker's Loon Show: The Movie" by Tad Baker
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=131.ann
"Black Biscuit" by Fabrizio Federico
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=130.ann
NEW CALLS FOR ENTRIES:
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New Jersey Young Film & Videomakers Festival (Jersey City, NJ, USA; Deadline: May 30, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1428.ann
Abstracta (Roma, Italy; Deadline: June 30, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1429.ann
THE BAMAKO SYMPOSIUM: MEDIA ARTS IN FOCUS (MALI) (Ghana; Deadline: May 02, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1430.ann
INTERNATIONAL MEDIA ARTS COLLABORATORY (Ghana; Deadline: October 02, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1431.ann
Documentary shorts (New York, NY, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1432.ann
Beloit Film Festival (Beloit, WI, United States; Deadline: November 20, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1433.ann
25 FPS International experimental film and video festival (Zagreb, Croatia; Deadline: May 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1434.ann
Unreal Film Festival (Memphis, TN, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1435.ann
Cellardoor Cinema Screenplay Contest (Memphis, TN, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1436.ann
Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 27, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1437.ann
Greentopia Festival (Rochester, NY, United States; Deadline: July 02, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1438.ann
DEADLINES APPROACHING:
======================
Cologne International Videoart Festival (Cologne, Germany; Deadline: May 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1392.ann
The Journal of Short Film Volume 27 (Columbus, Ohio USA; Deadline: April 27, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1394.ann
The Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1398.ann
Siciliambiente Documentary Film Festival (San Vito lo Capo, Tp, Italy; Deadline: April 30, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1406.ann
MisALT Screening Series Presents: Vulgar Politics (San Francisco, CA, USA; Deadline: May 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1408.ann
Surplus/Lack (San Francisco Bay Area, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1412.ann
Regent Park Film Festival (Toronto; Deadline: May 04, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1413.ann
International Video Art Festival “NOW&AFTER’12” (Moscow, Russia; Deadline: April 25, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1420.ann
Radon Lake (Boston, MA, USA; Deadline: May 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1424.ann
Manipulated Image @ art:screen fest 2012 in Sweden (Los Angeles, CA, USA; Deadline: April 24, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1427.ann
THE BAMAKO SYMPOSIUM: MEDIA ARTS IN FOCUS (MALI) (Ghana; Deadline: May 02, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1430.ann
Documentary shorts (New York, NY, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1432.ann
25 FPS International experimental film and video festival (Zagreb, Croatia; Deadline: May 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1434.ann
Unreal Film Festival (Memphis, TN, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1435.ann
Cellardoor Cinema Screenplay Contest (Memphis, TN, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1436.ann
Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 27, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1437.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Stan Brakhage Program 1 [April 14, New York, New York]
* Dog Star Man [April 14, New York, New York]
* My Mars Bar Movie [April 14, New York, New York]
* John Davis On Thunderbolt Pagoda + Lori Varga's Toy Synths + Cox' Korgs + [April 14, San Francisco, California]
* Peggy Ahwesh: Audio & vision Machines, Introduced By Rebecca Cleman of
Eai [April 15, Brooklyn, New York]
* The Pittsburgh Trilogy [April 15, New York, New York]
* Songs 1-14 [April 15, New York, New York]
* My Mars Bar Movie [April 15, New York, New York]
* Mixed Signals: Moving Images Works By Lee Arnold [April 16, Brooklyn, New York]
* The Animated Films of William Kentridge [April 16, Cambridge, Massachusetts]
* Seeing and Awakening- New Films By Nathaniel Dorsky [April 16, Los Angeles, California]
* College (1927, 66 Min) By James W. Horne & Buster Keaton [April 17, Reading, Pennsylvania]
* James Benning: Twenty Cigarettes [April 19, Chicago, Illinois]
* Crosstown Rivals: Films From Usc and Ucla In the 1960s [April 19, Los Angeles, California]
* Shorts: Journeys Across Cultural Landscapes [April 19, New York, New York]
* Yugoslav Experimental Program [April 19, New York, New York]
* Improvised Music and Experimental Film [April 19, Seattle, Washington]
* Misalt Presents: Conversations With the Mirror - Contemporary
Autonarritive and Reflections On the Self [April 20, Artists' Television Access]
* Cecilia Dougherty Program 1 [April 20, New York, New York]
* Misalt Screening Series Presents: Conversations With the Mirror -
Contemporary Autonarrative [April 20, San Francisco, California]
* Print Generation [April 21, Boston, Massachusetts]
* Films By Lewis Klahr & Laida Lertxundi [April 21, Los Angeles, California]
* Cecilia Dougherty Program 2 [April 21, New York, New York]
* Cecilia Dougherty Program 3 [April 21, New York, New York]
* Ken Adams' Mckenna Experience + Goldwave + Dmt + [April 21, San Francisco, California]
* L.A. Filmforum Presents Bright Ideas: Conceptual Art Films From Los
Angeles [April 22, Los Angeles, California]
* Essential Cinema: Stan Brakhage Program 2 [April 22, New York, New York]
* Essential Cinema: Text of Light [April 22, New York, New York]
* Essential Cinema: Stan Brakhage Program 3 [April 22, New York, New York]
Events are sorted by CITY within each DATE.
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SATURDAY, APRIL 14, 2012
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4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
STAN BRAKHAGE PROGRAM 1
DESISTFILM (1954, 7 min, 16mm, sound) REFLECTIONS ON BLACK (1955, 12
min, 16mm, sound) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING
(1956, 25 min, 16mm) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW
WATER BABY MOVING (1959, 12 min, 16mm) Films made during the early,
"psychodramatic" period of one of modern cinema's greatest innovators,
including two of his early experiments with sound. Total running time:
ca. 75 minutes.
4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:45 pm, 32 2nd Avenue
DOG STAR MAN
by Stan Brakhage 1961-64, 74 minutes, 16mm A masterwork in which all of
Brakhage's techniques achieve a complex synthesis to produce one of
cinema's supreme epic poems. "The film breathes and is an organic and
surging thing… it is a colossal lyrical adventure-dance of image in
every variation of color." –Michael McClure, ARTFORUM
4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
MY MARS BAR MOVIE
See notes for April 13, 8 pm.
4/14
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
JOHN DAVIS ON THUNDERBOLT PAGODA + LORI VARGA’S TOY SYNTHS + COX' KORGS +
The first in our Psychedelia series, tonight's show resonates with the
switched-on groove of the analog synthesizer subculture. Headlining is
John Davis' live-track to Ira Cohen's legendary Invasion of the
Thunderbolt Pagoda. PLUS: We welcome back to the Bay Area Ms. Lori
Varga, who cleverly demonstrates 9 "modified" oddities from her
mini-synth collection, inviting audience into hands-on experience! David
Cox shows off both the impossibly funky Optigan and also its iteration
as an iPhone app! Concluding the evening is Matthew Bate's What the
Future Sounded Like, a half-hr. BBC doc on the early synth scene in '60s
England, with clips of Roxy Music-era Brian Eno, Hawkwind, and Dr. Who.
Come early for Bob Moog clips, early Soviet Theremin, Raymond Scott
initiatives, Negativland Boopers, and bio-feedback bliss! $6.66.
----------------------
SUNDAY, APRIL 15, 2012
----------------------
4/15
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
6PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves)
PEGGY AHWESH: AUDIO & VISION MACHINES, INTRODUCED BY REBECCA CLEMAN OF
EAI
Admission $6, Introduced by Rebecca Cleman of Electronic Arts Intermix
(EAI). The screening is in connection with her current exhibition
"Inside Circle". The program of new and old works spans almost 20 years
and illuminates the thinking behind the exhibition. The issues of women
and identity, friendship, and the ethnography of everyday life are
brought together in works based in play-acting and improvisation,
embracing a marginal and radical subjectivity in the Warholian
tradition. Pittsburgh poet and filmmaker, luminary and social butterfly,
Natalka Voslakov, appears in several of the works contributing "much of
the irony, social critique, and visual pleasure" of the films." A series
of answering messages left by Voslakov over a 10 year period are the
inspiration for the exhibition, which is on view through April 16.
PROGRAM: "Bethlehem" by Peggy Ahwesh (8 min, 2008. "Current
Autobiography According to Bargain Basement Sinatra" by Natalka Voslakov
(18 min, 1979). Audio Listening session: 'The Geisha Life' & 'Totally
Alone' mash up of soundtracks featuring Natalka Voslavka, by Peggy
Ahwesh (10 min, 2012). "Philosophy in the Bedroom, Pts 1 and 2" by Peggy
Ahwesh (16 min, 1993). "The Vision Machine" by Peggy Ahwesh (20 min,
1996). more info at www.microscopegallery.com. tel: 347.925.1433.
Nearest Subway: J/M/Z - Myrtle/Broadway. Other options: L Morgan Ave or
Jefferson Street.
4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:45 pm, 32 2nd Avenue
THE PITTSBURGH TRILOGY
by Stan Brakhage Share + Film Notes EYES 1970, 36 minutes, 16mm, silent.
"After wishing for years to be given-the-opportunity of filming some of
the more 'mystical' occupations of our Times – some of the more obscure
Public Figures which the average imagination turns into 'bogeymen'...
viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last
permitted to ride in a Pittsburgh police car, camera in hand, the final
several days of September 1970." –S.B. & DEUS EX 1971, 34 minutes, 16mm,
silent. "I have been many times very ill in hospitals; and I drew on all
that experience while making DEUS EX in West Penn. Hospital of
Pittsburgh; but I was especially inspired by the memory of one incident
in an emergency room of San Francisco's Mission District: while waiting
for medical help, I had held myself together by reading an April-May
1965 issue of 'Poetry Magazine': and the following lines from Charles
Olson's 'Cole's Island' had especially centered the experience,
'touchstone' of DEUS EX, for me: Charles begins the poem with the
statement 'I met Death –' And then: 'He didn't bother me, or say
anything. Which is / not surprising, a person might not, in the
circumstances; / or at most a nod or something. Or they would. But they
wouldn't, / or you wouldn't think to either, / it was Death. And / He
certainly was, the moment I saw him.'" –S.B. & THE ACT OF SEEING WITH
ONE'S OWN EYES 1971, 32 minutes, 16mm, silent. "…Brakhage, entering,
with his camera, one of the forbidden, terrific locations of our
culture, the autopsy room. It is a place wherein, inversely, life is
cherished, for it exists to affirm that no one of us may die without our
knowing exactly why. All of us, in the person of the coroner, must see
that, for ourselves, with our own eyes. It is a room full of appalling
particular intimacies, the last ditch of individuation. Here our vague
nightmare of mortality acquires the names and faces of others." –Hollis
Frampton Total running time: ca. 105 minutes.
4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
SONGS 1-14
"SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind's movement in
remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG
5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7:
San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and
substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect,
a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass
traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds,
paints and crystals." –S.B.
4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
MY MARS BAR MOVIE
See notes for April 13, 7:30 pm.
----------------------
MONDAY, APRIL 16, 2012
----------------------
4/16
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves)
MIXED SIGNALS: MOVING IMAGES WORKS BY LEE ARNOLD
Admission $6 – Artist in person. Approx 50 minute program. Microscope is
very pleased to present a solo screening of works by Brooklyn-based
artist Lee Arnold. His work spans numerous media from drawings to
photography and moving image works. Arnold's films and videos – often
conceived for installation – constitute an elemental part of his work,
but rarely have been been presented together. The program consists of 14
short videos made from 2005 through 2011 and displays side-by-side such
varied range of works as time-lapse films of nature, digital animations
and other formal, software-based experiments. PROGRAM "Die Farben", 2007
Feat. Die Farben (stadium), Die Farben (escalator) and Die Farben (pool)
(1 min each). "Stereo", 2007 (music composed by Jaques Tati; performed
by Chris Dingman) Video, 3:12 min. "S-Bahn", 2006 (music by David Bowie
& Brian Eno; recorded Berlin, 1977) Video, 5 min. "Alpinia", 2006
(Video, 1:37 min). "Twenty-Four Colors", 2005 (Video, 4:12
min)."Clouds", 2008 (Video, 1:15 min). I"n-Transit", 2005 (Video, 7
min). "Ice", 2009 (music by Hans Otte from "The Book of Sounds") Video,
8:36 min. "Utopia", 2009 (Video, 1:30 min). "Circles", 2009 (Video, 24
sec). "View from Governors Island", 2010 (Video, 3 min), "Walpurgis
Night", 2011 (Video, 1 min). "The Magic Mountain", 2011 (8mm transfer to
video, 7 min). "Mixed Signals", 2011 (Video, 1:10 min). Bio Lee Arnold
was born in London in 1972 and lives in Brooklyn. In his work he
explores the nature of time and perception using a variety of media,
including film, video, photography, drawing and sound. He has exhibited
in the U.S. and abroad at venues including NURTUREart in New York,
Fleisher-Ollman in Philadelphia, and SIGGRAPH in Los Angeles. He is the
recipient of fellowships from the MacDowell Colony, the Lower Manhattan
Cultural Council and the DAAD, Berlin. more info:
www.microscopegallery.com. tel: 347.925.1433, nearest subway J/M/Z -
Myrtle/Broadway or L Morgan Ave or Jefferson Street.
4/16
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
THE ANIMATED FILMS OF WILLIAM KENTRIDGE
South African artist extraordinaire William Kentridge (b. 1955) is
celebrated for his unusual drawing-based art practice which uses age-old
techniques to create cutting edge and often fiercely political work in a
wide range of media from prints to theater, opera and most of all film.
Since the late 1970s Kentridge has given much of his time to the
direction of "moving pictures," crafting intensely artisanal and
profoundly imaginative films based entirely upon his handmade charcoal
drawings and using only a drafting table and camera for their arduous
and extended productions. Refusing any kind of computerized special
effects, Kentridge instead works and reworks his drawings as he films
them, making the act of erasure as important as his drawings, keeping
the trace as alive as the figure. A direct extension of the palimpsest
mode of Kentridge's animated films is the alternately melancholic and
whimsical world which they describe, ranging from the comical study of
bureaucratic chaos, Memo to his remarkable polyptych, 9 Drawings for
Projection. Loosely centered around the troubling yet strangely
sympathetic figure of the fat cat capitalist and cuckold, Soho Eckstein,
9 Drawings for Projection offers a lyrical meditation on contemporary
South Africa that openly addresses the thorny issues of apartheid, class
inequity and rampant free market capitalism. A passionate cinephile
whose own work draws on a range of film referents from Sergei Eisenstein
to George Méliès, Kentridge's animated works are mesmerizing both as a
kind of pure cinema and as a dramatic mode of live drawing. WILLIAM
KENTRIDGE IN PERSON SPECIAL EVENT TICKETS $12 Memo (South Africa 1994,
digital video, color, 3 min) Johannesburg: 2nd Greatest City After Paris
(South Africa 1989, 35mm, b/w, 8 min) Mine (South Africa 1991, 35mm,
color, 6 min) Ubu Tells the Truth (South Africa 1997, digital video,
b/w, 8 min) Journey to the Moon (South Africa 2003, digital video, b/w,
8 min) History of the Main Complaint (South Africa 1996, 35mm, b/w, 6
min) WEIGHING … and WANTING (South Africa 1998, 35mm, color, 6 min)
Stereoscope (South Africa 1999, 35mm, color, 8 min) Other Faces (South
Africa 2011, digital video, color, 9 min)
4/16
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St., Los Angeles, CA 90012
SEEING AND AWAKENING- NEW FILMS BY NATHANIEL DORSKY
Nathaniel Dorsky's work draws from the very essence of cinema; he
creates profound experiences that explore the world through images of
extraordinary beauty, and a montage that subverts the descriptive and
awakens mystery. Dorsky's book Devotional Cinema is a modern classic on
the poetics of the medium, and the thirteen films he has completed since
1996 have been widely acclaimed and featured at major film festivals and
museums throughout the world. This program will include Pastourelle
(2010), The Return (named by The New York Times as one of the best films
of 2011), and a world premiere, August and After. A different program of
Dorsky's films will be shown at the UCLA Film and Television Archive. In
person: Nathaniel Dorsky. Jack H. Skirball Screening Series / $10
[students $8, CalArts $5]
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TUESDAY, APRIL 17, 2012
-----------------------
4/17
Reading, Pennsylvania: Berks Filmmakers, Inc
http://berksfilmmakers.org
7:30 p.m., Albright College Center for the Arts
COLLEGE (1927, 66 MIN) BY JAMES W. HORNE & BUSTER KEATON
One of the most brilliant performances by the stone-faced, clown poet of
silent cinema. College contains "Keaton's most startlingly inventive
stunts... executed so precisely and with such an air of confident
innocence that they are charged with surprise —and probably will be
forever."– Pauline Kael
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THURSDAY, APRIL 19, 2012
------------------------
4/19
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, 164 N. State
JAMES BENNING: TWENTY CIGARETTES
James Benning in person. Celebrated for his minimal, monumental
landscape studies, James Benning turns to the intimacy of the portrait
in his latest film, Twenty Cigarettes. Referencing Warhol's screen
tests, 1930's Hollywood glamour, and the disappearing cigarette break,
the film captures twenty of Benning's friends (including filmmaker
Sharon Lockhart, cultural theorist Dick Hebdige, and book editor Janet
Jenkins) satiating their smoke cravings. Each shot's length is
determined by the time it takes each subject to smoke a cigarette, and
over the course of the film a dynamic range of personalities emerges out
of an array of physical characteristics, distinctive settings, and
personal relationships to the camera. 2011, USA, HDCAM, 99 minutes +
discussion
4/19
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00pm, Ray Stark Theatre, SCA 108, George Lucas Bldg, USC School of Cinematic Arts Complex, 900 W. 34th St.
CROSSTOWN RIVALS: FILMS FROM USC AND UCLA IN THE 1960S
Enthused by the possibilities of "underground" film, energetic students
at Los Angeles' leading universities made a healthy amount of work using
alternative approaches in the 1960s. This work gained notoriety in the
mass media, with an article in Time Magazine, among others. The most
well-known filmmaker to come out of this period is George Lucas, but
we'll also be looking at remarkable students works by Penelope Spheeris,
David Lebrun, Paul Golding, Robert Abel, John Milius, Burton Gershfield,
Bruce Green, and Rob Thompson. Politically and socially activated works,
experimenting in animation, collage, documentary, and narrative, topped
by two unusual science fiction films from Spheeris and Lucas. In person:
David Lebrun, others to be announced (schedules permitting) Info:
http://alternativeprojections.com/screening-series/crosstown-rivals-film
s-from-usc-and-ucla-in-the-1960s/ Tickets are free. RSVPs are available
on the USC website at http://cinema.usc.edu/CrossTownRivals
4/19
New York, New York: Tribeca Film Festival
http://www.tribecafilm.com/filmguide/shorts__journeys_across_cultural_landscapes-film42784.html
7:00PM, 260 West 23rd Street
SHORTS: JOURNEYS ACROSS CULTURAL LANDSCAPES
Spanning creative journeys across four continents, the assembled
filmmakers invoke diverse cultural landscapes, suggesting a collective
struggle of humanity between apocalyptic visions of the past, present,
and future, and the redemptive power of the human spirit. Cinematic
techniques comprising found footage imagery, historic audio recordings,
still photography, animation, collage, Super 8mm (celluloid) filmmaking,
and digital cinematography comprise the rich visual and audio landscapes
of these films, all made by talented artists, ranging from emerging
student voices to experienced filmmakers returning to TFF. Films include
"An Incomplete History of the Travelogue" Sasha Waters Freyer, 1925,
"Scenes From a Visit to Japan" Joel Schlemowitz, "The Valley" Leif Huron
, "Sinews of Peace" Timo Franc, "Barcelona" Martin Laporte, "Democratic
Locations" Thomas Kutschker, "Abyss of Man's Conscience (ReconoceR)"
Juan Camilo González, "Inquire Within" Jay Rosenblatt, and "All the
Lines Flow Out" Charles Lim Yi Yong. - Jon Gartenberg
4/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
YUGOSLAV EXPERIMENTAL PROGRAM
The original formats are listed below; however, due to the fragile and
often unique nature of most of these films, they will be screened from
video. Tomislav Gotovac THE MORNING OF A FAUN (1963, 7 minutes, 16mm)
Tomislav Gotovac CIRCLE (JUTKEVICH-COUNT) (1964, 7 minutes, 16mm)
Gotovac is a figure of seminal importance in the history of Yugoslav
cinema. He was a versatile filmmaker, conceptual and performance artist,
and a hardcore cinephile ("As soon as I open my eyes in the morning, I
see film"). Since the 1960s, his avant-garde practices have greatly
inspired generations of filmmakers and artists. This program features
two of Gotovac's key (proto-)structural works built, respectively,
around the fixed and the gyrating camera's field of vision. Mihovil
Pansini K-3, OR CLEAR SKY WITHOUT A CLOUD (1963, 3 minutes, 16mm) This
short is a prime example of the "antifilm" tendency, which developed in
the early 1960s and became one of the defining tropes of Yugoslav
experimental cinema. Pansini was not only a practitioner, but also the
foremost theoretician of "antifilm". Ivan Martinac I'M MAD (1967, 5
minutes, Super-8mm) "Space is never primary in the film. Time is. …
Therefore, it is also not the event but the cut that is primary." –I.M.
Ana Nuša Dragan SOME INFORMATION (1968, 2 minutes, 8mm) A string of
self-sufficient images, records of events and situations involving the
filmmaker. Nuša Dragan's interest was in casting diverse social and
communication processes as so many types of cinematic relations.
Slobodan Šijan HANDMADE (1971, 1.5 minutes, 8mm) This is a rugged
artisanal miniature, a vibrant piece of raw film matter from a filmmaker
whose career has successfully unfolded on parallel tracks – in the realm
of experimental art, as well as in the mainstream of feature-length
narrative cinema. Ivica Matić CLASSIFIEDS (IN MEMORIAM) (1971, 6
minutes, 16mm) A provocative and disturbing film, edited as if under the
sign of Freud's claim that the unconscious "knows no contradiction."
Vladimir Petek ENCOUNTERS (1963, 5 minutes, 35mm) Petek's extravagant
cinematic portrait of a young woman is grounded in extensive
interrogation of the nature of the medium. Miodrag Tarana & Mirko
Avramović FROM ME TO YOU (1972, 3.5 minutes, 8mm) A playful
exchange involving two cameras. Nikola Djurić THE RAVEN (1973, 5
minutes, 16mm) This lyrical exercise in bird-watching developed from
Djurić's work on a self-made optical printer. Radoslav Vladić
MARINELA (1974, 4 minutes, 16mm) Vladić's films are shot with much
precision and attention to visual detail. In this work, subject matter
and cinematographic technique are whimsically matched. While the record
spins, the camera incessantly pans across the room. Miodrag
Milošević LAST TANGO IN PARIS (1983, 6 minutes [short version],
16mm) "This is my attempt to analyze a favorite film. … I shot it off a
television screen. … It is a Bertolucci film, but cleansed of everything
I did not like about it." –M.M. Želimir Žilnik INVENTORY (1975, 9
minutes, 16mm) A political-materialist documentary in the structural
mode, made by a veteran of Yugoslav engaged ("black wave") cinema. The
film's subject matter is guest-workers in Munich, Germany. Davorin Marc
BITE ME. ONCE ALREADY (1977-80, 1.5 minutes, Super-8mm) "The effect of
teeth on a strip of film." Made by Marc and a group of friends. Bojan
Jovanović TURMOIL (1982, 13 minutes, 16mm) Politics of film form
is, quite literally, the subject of Jovanović's exploration. Taking
as his starting point some footage of street scenes in early-1980s
Kosovo, the filmmaker systematically disrupts the legibility of the
image. Flicker, scratching, re-filming (over- and under-exposure), slow
motion, frozen/burning frames, and the film losing its loop, all become
symptoms of the rising socio-political tensions in the region. Miroslav
Bata Petrović PURE FILM: MEMENTO OF GEFF (1984, 5 minutes, 16mm)
Made some two decades after the idea of "antifilm" was originally
elaborated, this playful homage insists on the continued relevance of
its impulse toward radical reductivism. Total running time: ca. 90
minutes.
4/19
Seattle, Washington: Northwest Film Forum
http://www.nwfilmforum.org
8pm, 1515 12th ave
IMPROVISED MUSIC AND EXPERIMENTAL FILM
This twice-annual program, co-curated by The Monktail Creative Music
Concern and the Film Forum, presents an evening of live collaborative
media experiments. Some of the area's most talented musicians will play
in and alongside a number of pioneering short films by Northwest
filmmakers.
----------------------
FRIDAY, APRIL 20, 2012
----------------------
4/20
Artists' Television Access: MisALT
8:00, Artists' Television Access
MISALT PRESENTS: CONVERSATIONS WITH THE MIRROR - CONTEMPORARY
AUTONARRITIVE AND REFLECTIONS ON THE SELF
The MisALT screening series is excited to announce Conversations With
The Mirror: Contemporary Autonarrative and Reflections of the Self, an
evening of videos that present innovative approaches to autobiographic
and auto-fictional subject matter. The program consists of work by 8
intriguing experimental video and filmmakers ranging from sci-fi
memoirs, revisionist diaries, semi-fictional documentary, and brutally
honest self-portraits. Featuring work by Bryan Konefsky, Fiona Trigg,
Ron Toole, Julie Perini, Carl Elsaesser, Nadia Jassim, Marissa Perel,
and Yasi Ghanbari. Curated by Tessa Siddle. - 8:00PM Friday April 20th,
2012. - at Artist Television Access, 992 Valencia St, San Francisco, CA
- $6.00 - Featuring: "There is a Wind That Blew" (Carl Elsaesser, USA,
2011) - Two parents insert themselves into their son's diary and assume
several roles, until the diary realizes their presence. As the passages
fall apart and the son violently, tries to get rid of his parents, a
film crew appears-framing specifics-searching for, concrete answers to
an echoing repression. There is Wind That Blew explores the fluid,
relationship between repression, documentary film making, narrative
representation, - family history and agency. - "Black Swans at Night"
(Fiona Trigg, Australia, 2011) - A reflection on employment anxieties,
love, sex, guilt, and the films of Paul Schrader. - "Vancouver" (Bryan
Konefsky, USA, 2008) - A five part diary inspired by a recent trip to
Vancouver, British Columbia where, at the border a Canadian Customs
Officer accuses the filmmaker of smuggling pornography into their
country. Ultimately this work is a meditation on paranoia, false
perceptions, misguided judgments and a particular brand of "profiling."
- "Girl Next Door" (Julie Perini, USA, 2010) - An experimental
documentary about a cluster of apartment dwellers in Perini's North
Portland, neighborhood that combines factual and fictional information
to create a portrait of a micro-community. - "Where Once Was When" (Ron
Toole, USA, 2011) - A man travels to a distant planet where his memory
is used to populate the new land with soul. A voiced narrative counters
a textual one\; each presents a unique point of view. As his memory
drains he wrestles with these points of view. He feels responsible of
the other people in his memory who have no say in their captured role,
but also excited by the prospect of seeding a new planet. Incorporating
optical print techniques to visually relate memory, and using the last
few rolls of kodachrome to shoot the distant planet, Toole's film
displays a strong subtext about the creation of avant garde film and its
continuation. - "Bee Test" (Nadia Jassim, USA, 2009) "Andi" (Nadia
Jassim, USA, 2010) - Jassim's hallucinatory and visceral video diptych
reflects upon the collapse of a doomed and dysfunctional relationship
through dreams, prophecy, insect life, and aviation. - "Father Figure"
(Yasi Ghanbari & Marissa Perel, USA, 2010) - Dentistry, aerobics,
and George Michael form the backdrop for a meditation on tensions in the
father-daughter relationship.
4/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
CECILIA DOUGHERTY PROGRAM 1
IN A STATION, PETALS (2011, 13 minutes, video, silent) This video is
created from hundreds of stills sourced from TV shows that I used to
watch. I targeted small corners of the frame or scene, and since I was
looking so closely, began to notice how race and gender stereotypes are
contained in the tiny moments of the pixels. LAURIE (1998, 11 minutes,
video) The first in a series of video portraits of writers, this was
inspired by Laurie Weeks's uncanny ability to simultaneously embody her
characters and write them from a clear distance. The text in question is
a few paragraphs from a draft of the novel ZIPPER MOUTH, published last
fall by the Feminist Press. LESLIE (1998, 11 minutes, video) A portrait
of the West Coast poet Leslie Scalapino, who left an unmatched legacy of
literature, poetry, and ideas when she died in 2010. The text is from
AS: ALL OCCURRENCE IN STRUCTURE, UNSEEN – (DEER NIGHT). EILEEN (2000, 10
minutes, video) This video is an unabashed fan letter to poet Eileen
Myles. I shot the movie as I imagined Robert Frank and Alfred Leslie
shooting PULL MY DAISY, a film that left an impression on me chiefly of
the struggle between form and formlessness, plan and improvisation,
sketch and story. KEVIN & CEDAR (2002, 8.5 minutes, video) I went to
visit Kevin Killian's South of Market apartment in San Francisco to
shoot a portrait of him, and when I arrived he had a guest, poet Cedar
Sigo. While they had corresponded earlier, they were meeting that day
for the first time. Cedar agreed to participate in our video shoot. GONE
(2001, 37 minutes, video) A two-channel video based on Episode No. 2 of
producer Craig Gilbert's AN AMERICAN FAMILY, the landmark 1970s Public
Television cinéma vérité documentary about the Loud family of Santa
Barbara, California. The second episode of the series follows mother Pat
Loud's arrival in New York, where she spends the week with her son
Lance, who is living at the Chelsea Hotel. Much of the dialogue in GONE
is based on the actual dialogue in the original series. Total running
time: ca. 95 minutes.
4/20
San Francisco, California: MisALT Screening Series
http://www.othervixen.com/convomirror.html
8PM, Artist Televison Access 992 Valencia St
MISALT SCREENING SERIES PRESENTS: CONVERSATIONS WITH THE MIRROR -
CONTEMPORARY AUTONARRATIVE
The MisALT screening series is excited to announce Conversations With
The Mirror: Contemporary Autonarrative and Reflections of the Self, an
evening of videos that present innovative approaches to autobiographic
and auto-fictional subject matter. The program consists of work by 8
intriguing experimental video and filmmakers ranging from sci-fi
memoirs, revisionist diaries, semi-fictional documentary, and brutally
honest self-portraits. Featuring work by Bryan Konefsky, Fiona Trigg,
Ron Toole, Julie Perini, Carl Elsaesser, Nadia Jassim, Marissa Perel,
and Yasi Ghanbari. Curated by Tessa Siddle. 8:00PM Friday April 20th,
2012. at Artist Television Access 992 Valencia St San Francisco, CA
$6.00
------------------------
SATURDAY, APRIL 21, 2012
------------------------
4/21
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
7:00pm, 559 Washington Street
PRINT GENERATION
J.J. Murphy's rarely screened, seminal exploration of film and memory.
Re-printing one minute of film 50 times, Murphy pushes the limits of
film's materiality to create a profound journey from abstraction to
representation & back again. RESTORATION PRINT!
4/21
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)
FILMS BY LEWIS KLAHR & LAIDA LERTXUNDI
$5 / Master collagist Lewis Klahr has been making films since 1977. He
is known for his uniquely idiosyncratic experimental films, which have
screened extensively in the United States, Europe and Asia. "Above all
Klahr's great subject is time, which certainly explains the exquisitely
melancholy tone that pervades his work. He traffics in modes that are
pitched just beyond the realm of reason. Somewhere between waking and
sleeping, we can find that wavelength and achieve understanding--only to
have it slip away as we enter ones state or the other. Klahr's films and
videos provide a rare opportunity for us to engage with a liminal state
of consciousness with our alert mind and to reach those "infrathin"
moments that Proust describes as existing outside of time."-- Chris
Stults, Film Comment. Laida Lertxundi makes films with non-actors that
evoke external and internal spaces of intimacy. Through intricate
arrangements of actions and sounds, her work explores how filmic moments
can be imbued with emotional resonance. As her cinema questions how
viewers' desires and expectations are shaped by cinematic forms of
storytelling, it also searches for alternative ways of linking sound and
music with found locales, constructed situations, and quotidian
environments. Shot within and around Los Angeles, her films map out a
geography of landscapes transformed by affective and subjective states.
Her films have been selected for the 2012 Whitney Biennial, and other
venues and festivals where her work has been shown include MoMA, LACMA,
the Viennale, "Views from the Avant Garde" at the New York Film
Festival, and the Rotterdam International Film Festival. Program:
Wednesday Morning Two A.M. (2009, Digital Video), Lethe (2009, Digital
Video), and Two Hours To Zero (2004, 16mm) by Lewis Klahr; Footnotes to
a House of Love (2007), My Tears Are Dry (2009), Llora Cuando Te Pase /
Cry When It Happens (2010), and A Lax Riddle Unit (2011) (all 16mm) by
Laida Lertxundi. LEWIS KLAHR AND LAIDA LERTXUNDI IN ATTENDANCE!
4/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Ave.
CECILIA DOUGHERTY PROGRAM 2
COAT OF ARMS (1987, 16 minutes, slow scan remote video capture, silent)
This piece is an enjoyment of the artifice of video – its colors,
shapes, and electronic games. THE THIRD SPACE (2009, 27 minutes, video)
This piece grew out of my photo blog, QUOTIDIAN NEW YORK, which I used
as a portable studio to record and archive pictures I took on my daily
rounds. CLAUDIA (1987, 8 minutes, video) An examination of the
possibility that anything as marginal to society as lesbian sex can be
placed within a context of a normal life, domestic architecture, and
mundane perspective – not an exercise in invisibility, but as an
examination of everyday life itself. MY FAILURE TO ASSIMILATE (1995, 20
minutes, video) An essay and a documentary examining the failure of
society to accept feminist ideologies to a point where feminism could
have an appreciable, lasting, or functional effect on the lives of
ordinary women as a class. Total running time: ca. 75 minutes.
4/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Ave.
CECILIA DOUGHERTY PROGRAM 3
OCCUPY WALL STREET REDUX (2011, 14.5 minutes, video, silent)
Impressions, regressions, confessions. A sampling of direct democracy;
thinking of times past, and takin' it to the streets. It's not a
documentary, so it doesn't have to pretend to be objective. Footage from
OWS NYC Sept-Nov 2011. THE DRAMA OF THE GIFTED CHILD (1992, 5.5 minutes,
video) Inspired by psychologist Alice Miller's book THE DRAMA OF THE
GIFTED CHILD: THE SEARCH FOR THE TRUE SELF. While not an adaptation of
the book, my video is an essay on the transference phenomenon,
narcissism, and the desire for a sense of self-worth based on the needs
of peers and the standards of others. JOE-JOE 1993, 52 minutes, video.
Co-directed and co-produced by Leslie Singer and Cecilia Dougherty. An
adaptation of the diaries of 1960s British bad-boy playwright Joe Orton.
This may be an entirely new genre of biopic, as JOE-JOE presents Orton
not as one talented gay rogue, but as two fabulous and talented gay
women, both named Joe Orton. Total running time: ca. 80 minutes
4/21
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
KEN ADAMS' MCKENNA EXPERIENCE + GOLDWAVE + DMT +
In this West Coast launch of Incite's New Ages issue, Adams (former Rose
X), having ejected from Texas for new digs in the Bay Area, unveils the
NorCal debut of his hr.-plus Terence McKenna Experience. Adams has
crafted an experimental electronic essay by and about the rogue
intellectual, spoken-word artist, and psychedelic visionary, infused
into a multi-temporal cascade of imagery, ideas, and mesmerizing music.
Supporting this hallucinatory homage, as the final installment of our
OptrOnica thread, is the live-cinema collective Goldwave (Cyrus Tabar,
Shemoel Recalde, Josh Roberts) with its ravishing A/V synthesis. PLUS
Mitch Schultz' DMT: The Spirit Molecule, with Ralph Abraham. Come early
for Jordan Belson, the Whitney Brothers, and the Dream Machine. $6.
----------------------
SUNDAY, APRIL 22, 2012
----------------------
4/22
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm (doors open 7, box office opens 6:30), Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
L.A. FILMFORUM PRESENTS BRIGHT IDEAS: CONCEPTUAL ART FILMS FROM LOS
ANGELES
Los Angeles was one of the centers of Conceptual Art production, as
reflected by multiple Pacific Standard Time exhibitions. Where
sculptural and installation manifestations of Conceptual Art are more
widely known, film and video also served as media for these sorts of
explorations – works in which the concept preceded the work, and for
which one could theoretically conceive the work with the rules
themselves. The program includes a wide array of works by artists known
both for working in other media and in film. Several will be in person.
The program includes works by artists more known for working in other
media, such as John Baldessari, Jack Goldstein, and David Wilson, and
for those working in film, such as Thom Andersen, Morgan Fisher, Roberta
Friedman, Grahame Weinbren, and Susan Rosenfeld. In person: Thom
Andersen, Morgan Fisher, more to be confirmed Info:
http://alternativeprojections.com/screening-series/bright-ideas-conceptu
al-art-films/ The show is free! Reservations recommended, and will be
held until 7:15 pm on show night, at which time they will be released to
anyone present. Reservations available at
http://www.brownpapertickets.com/event/239612
4/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 2
Unless otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT
(1958, 40 minutes, 16mm) CAT'S CRADLE (1959, 6 minutes, 16mm) THE DEAD
(1960, 11 minutes, 16mm) MOTHLIGHT (1963, 4 minutes, 16mm) BLUE MOSES
(1963, 11 minutes, 16mm, sound) PASHT (1965, 5 minutes, 16mm) FIRE OF
WATERS (1965, 10 minutes, 16mm, sound) With ANTICIPATION OF THE NIGHT,
Brakhage leaves psychodrama and enters the "closed-eye vision" period.
This program also contains a unique example of a film made without a
camera, MOTHLIGHT, and one of Brakhage's few sound (and 'acted') films,
BLUE MOSES. Total running time: ca. 95 minutes.
4/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Ave.
ESSENTIAL CINEMA: TEXT OF LIGHT
by Stan Brakhage 1974, 67 minutes, 16mm Brakhage's tour-de-force
exploration of refracted light in an ashtray. "All that is, is light."
–Dun Scotus Erigena
4/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 3
All films are silent. LOVING (1956, 4 minutes, 16mm) THE WEIR-FALCON
SAGA (1970, 29 minutes, 16mm) THE MACHINE OF EDEN (1970, 11 minutes,
16mm) SEXUAL MEDITATION #1: MOTEL (1970, 7 minutes, 16mm) DOOR (1971, 4
minutes, 16mm) SEXUAL MEDITATION: ROOM WITH A VIEW (1971, 4 minutes,
16mm) THE SHORES OF PHOS: A FABLE (1972, 10 minutes, 16mm) A selection
from some of Brakhage's most densely mysterious works. Total running
time: ca. 90 minutes.
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