[Frameworks] This week [May 5 - 13, 2012] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat May 5 11:57:17 CDT 2012
This week [May 5 - 13, 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 CALLS FOR ENTRIES:
=====================
Cologne International Videoart Festival (Cologne, Germany; Deadline: July 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1392.ann
Antimatter Film Festival (Victoria, BC, Canada; Deadline: June 29, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1441.ann
L'Alternativa, Barcelona Independent Film Festival (Barcelona, Spain; Deadline: July 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1442.ann
New Jersey Young Film & Videomakers Festival - NEW DEADLINE 6/25 (Jersey City, NJ, USA; Deadline: June 25, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1443.ann
DEADLINES APPROACHING:
======================
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
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
EXiS (Seoul, South Korea; Deadline: June 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1416.ann
Dallas VideoFest 25 (Dallas, Texas, USA; Deadline: June 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1425.ann
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
Documentary shorts (New York, NY, USA; Deadline: May 15, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1432.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
Arizona Underground Film Festival (Tucson, AZ, USA; Deadline: May 18, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1439.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Joan Jonas: the Shape, the Scent, the Feel of Things [May 5, Austin, TX]
* Treasures From Tv Land [May 5, San Francisco, California]
* Soe + Lord + Sherman + Daniel + Alfvegren + [May 5, San Francisco, California]
* Danny Lyon Program [May 6, New York, New York]
* Kinetic Cinema: Electric Salomes and the Technology of Female Spectacle [May 7, Brooklyn, New York]
* Kinetic Cinema: Electric Salomes and the Technology of Female Spectacle [May 7, Brooklyn, New York]
* Migrating Forms, Feature By James Fotopoulos [May 7, Brooklyn, New York]
* Kinetic Cinema Screening and Discussion With Amy Ruhl, Amy Greenfield,
and Kerrie Welsh [May 7, Brooklyn, New York]
* Cine Povera- Mexican Experiments In 16mm [May 7, Los Angeles, California]
* Danny Lyon Program [May 7, New York, New York]
* Early Monthly Segments #39 = Nicky Hamlyn In Person! [May 7, Toronto, Ontario, Canada]
* Scott Bartlett's offon + Kinji Fukasaku's the Green Slime [May 8, Brooklyn, NY]
* Films of Tom Chomont [May 10, Los Angeles, California]
* <B>Seconds of Eternity iv: the Films of Gregory J. Markopoulos</B><I>
Galaxie</I> [May 10, San Francisco, California]
* L.A. Filmforum Presents Moving Pictures: Painting, Photography, Film [May 12, Los Angeles, California]
* Los Angeles Filmforum Presents Moving Pictures: Painting, Photography,
Film [May 12, Los Angeles, California]
* Occupy Cinema! [May 12, San Francisco, California]
Events are sorted by CITY within each DATE.
---------------------
SATURDAY, MAY 5, 2012
---------------------
5/5
Austin, TX: Texas Peforming Arts
8pm, UT campus
JOAN JONAS: THE SHAPE, THE SCENT, THE FEEL OF THINGS
Seminal video and performance artist – Jonas presents her cutting edge
multi-media video performance. Since the 1970s, Jonas has worked between
various mediums, freely incorporating video, movement, music, sculpture,
and the spoken word into open-end narratives. Featuring music by Jason
Moran, this collaborative work evokes the American Southwest through an
artistic consideration of the Hopi snake dance, a ritual that affected
Jonas during visits to Arizona in the 1960s. A featured performance of
the 2012 Fusebox Festival "For The Shape, the Scent, the Feel of Things,
I went to Arizona and I was thinking about memories of the American
landscape, by which I mean memories from before the Europeans came here.
The Southwest is a perfect example of different cultures layered on top
of each other, and next to each other. I'm very interested in how
stories are retold, of course. That's what we do—we retell stories."
JOAN JONAS
5/5
San Francisco, California: Oddball Films
http://www.oddballfilm.com
8PM, 275 Capp Street 3rd Floor
TREASURES FROM TV LAND
Oddball Films presents Treasures From TV Land. Whether it was a
commercial or a sitcom, commercials or a variety show, most television
production prior to the late 1970s was made on 16mm. This program
features rare, weird and wonderful vintage TV screened from 16mm film
prints. Highlights include excerpts from The Debbie Reynolds Show
featuring the multi-talented leading lady in the skit A Date With Debbie
(1960); Season 3 episode 31 of My Favorite Martian titled My Nut Cup
Runneth Over (1966) about a squirrel accidentally transformed into a
human; Some Like It Hot (1961), the un-aired, lost TV pilot for a series
based on the classic Billy Wilder film; and clips from the queen of TV
comedy Lucille Ball's shows I Love Lucy and The Lucy Show. Plus!
Television Land (1971) brilliantly edited visual history of the great
communicator, and loads of kooky vintage TV commercials.
5/5
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
SOE + LORD + SHERMAN + DANIEL + ALFVEGREN +
Valerie Soe world-premieres her Chinese Gardens, a personal exploration
of Port Townsend's hidden history. Dan Boord/Luis Valdovino's Chinese
Ghost Story undertakes a similar excavation of the unknown Asian
laborers who built the Western railroads. The debut of David Sherman's
Assassination in Dreamland correlates the McKinley assassination with
the early history of cinema, while Kennedy/Rosentrater's Dick-George
picks up on the Presidential tip with a '71 Nixon/Wallace photo-op. Chip
Lord's Une Ville de L'Avenir posits a future urbanism by hybridizing
Alphaville with his own verité. In person, Bill Daniel's Mission Bay at
Night surveys that haunted SF shoreline. Head of the Cali. Fortean
Society, Skylaire Alfvegren rounds it out with her 45-min. The Secret
Life of Southern California. Come early to meet the makers, to witness
Ben Wood's 3-D Philippines Projection proposal, and drink in Frank
Stauffacher's 16mm Notes on the Port of St. Francis. $6.
-------------------
SUNDAY, MAY 6, 2012
-------------------
5/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
DANNY LYON PROGRAM
SHADOWMAN 2011, 22 minutes, video. Lyon's existential look at himself,
filmmaking, the irony of digital, the death of film, and his musings on
the meaning of his lifetime of work. Shot in the Bernalillo, New Mexico
graveyard (Lyon's fifth major scene shot in this spot), the Acoma
reservation's desert, the streets and garages of Manhattan, and the
Maine woods and skies. DEAR MARK 1981, 15 minutes, 16mm. Preserved by
Anthology Film Archives with support from The Andy Warhol Foundation for
the Visual Arts. Special thanks to George Eastman House for providing
original production elements. A portrait of artist Mark di Suvero made
from footage shot over the course of a decade by his friend Lyon. We
watch the sculptor at work and at play in the woods of New York State,
and in exile in France during his protest against the war in Vietnam.
Against the background of Medieval Armor at the Met, Lyon has replaced
di Suvero's voice with that of the singing cowboy, Gene Autry.
Wonderfully quirky and playful, DEAR MARK is an inspired homage to di
Suvero couched in the form of "Dadaistic comedy", as the late critic
Thomas Albright put it. LOS NIÑOS ABANDONADOS 1975, 63 minutes,
16mm-to-video. Restoration produced with the support of the Menil
Archives, The Menil Collection, Houston, with a Gift from Joan Hohlt and
J. Roger Wich Foundation. Restoration produced by Mark Rance, Watchmaker
Films. Assistant color correction by Tara Reinecke Walch; technical
support by Brooks Walch. Focuses on the lives of abandoned children who
scavenge in the streets of Santa Marta, a small town in Colombia. A
staggering work of vérité that in its imagery and emotion feels like an
extension of neo-realist cinema, it finds Lyon's ever-present camera
capturing moments of reality as stark as they are poetic. The
filmmakers' original vision had been to reach a mass audience of
Americans by having the film shown on national television, but in 1975
public television rejected the film because it lacked narration. Modern
writing about this film does not focus on the poverty of the children
but rather Lyon's statement of the existential freedom of his
characters. We will be screening a brand new digital restoration of LOS
NIÑOS ABANDONADOS diligently produced by Mark Rance from the original
production elements. This film, a highlight of Lyon's filmmaking and a
landmark work of 1970s cinema, has never looked better or felt more
gripping. Total running time: ca. 105 minutes.
-------------------
MONDAY, MAY 7, 2012
-------------------
5/7
Brooklyn, New York: Pentacle's Movement Media
http://pentacle.org/movement_media_screenings.php
7:30pm, Uniondocs, 322 Union Avenue
KINETIC CINEMA: ELECTRIC SALOMES AND THE TECHNOLOGY OF FEMALE SPECTACLE
Filmmaker Amy Ruhl curates a provocative program of Kinetic Cinema that
examines how the female body, under the unique technology of cinema, has
been the primary source of spectacle since the beginnings of film. The
program will include Ruhl's recent short film, "How Mata Hari Lost Her
Head and Found Her Body" as well as shorts by contemporary experimental
filmmakers, Kerrie Welsh and Amy Greenfield.
5/7
Brooklyn, New York: Pentacle's Movement Media
http://pentacle.org/movement_media_screenings.php
7:30pm, Uniondocs, 322 Union Avenue
KINETIC CINEMA: ELECTRIC SALOMES AND THE TECHNOLOGY OF FEMALE SPECTACLE
Filmmaker Amy Ruhl curates a provocative program of Kinetic Cinema that
examines how the female body, under the unique technology of cinema, has
been the primary source of spectacle since the beginnings of film. The
program will include Ruhl's recent short film, "How Mata Hari Lost Her
Head and Found Her Body" as well as shorts by contemporary experimental
filmmakers, Kerrie Welsh and Amy Greenfield.
5/7
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves)
MIGRATING FORMS, FEATURE BY JAMES FOTOPOULOS
preceded by the 6-min short "Growth". Admission $6. Ahead of the
Migrating Forms film festival, which opens May 11 at Anthology Film
Archives, James Fotopoulos joins us to present his 16mm break-through
film from which the event derived its name. Fotopoulos' second feature –
made when he was just 23 years old – presents a bleak view of the
infectious nature of sexual relationships. The work won "Best Feature"
at the New York Underground Film Festival where it premiered in 2000. It
was also among Amy Taubin' top 20 films of the year at the Village
Voice, and prompted film critic Ed Halter to declare Fotopoulos "the
most important new director I have seen in many years…". The film will
be preceded by the related 6-minute short Growth. PROGRAM: "Growth",
16mm, color & b/w, 6 min, 1999. "Growth" is made with footage from a
scene originally intended to be included in the feature Migrating Forms.
Fotopoulos instead chose to make it a stand-alone short film. "Migrating
Forms", 16mm, b/w, 80 min, sound mono, 1999 (filmed 1997). "Migrating
Forms" is a masterful, minimalist exploration of empty sexuality and its
psychic and physical consequences. In a stark, nearly empty room, a man
and a woman meet for passionless sex. A growth on the woman's back
infects the man, but the implications of the infection, like the
characters themselves, remain elusive. BIO: James Fotopoulos was born in
Chicago and currently lives and works in Brooklyn, NY. His films and
videos have been screened internationally including the International
Film Festival Rotterdam, the New York Underground Film Festival, the
Sundance Film Festival, the Walker Art Center and the Andy Warhol
Museum, among others. His works have also been featured in a
retrospective at Anthology Film Archives, 2004 Whitney Biennial, and at
Museum of Modern Art (NY). Fotopoulos has collaborated with Raymond
Pettibon, Barney Rosset, Cory Arcangel, Torsten Zenas Burns, Ben
Coonley, and many others. more info: www.microscopegallery.com; tel:
347.925.1433, Nearest Subway: J/M/Z - Myrtle/Broadway. Other options L -
Morgan Ave or Jefferson Street.
5/7
Brooklyn, New York: UnionDocs
http://www.uniondocs.org
7:30, 322 Union Avenue
KINETIC CINEMA SCREENING AND DISCUSSION WITH AMY RUHL, AMY GREENFIELD,
AND KERRIE WELSH
For her Kinetic Cinema program, guest curator Amy Ruhl will examine how
the female body has been the primary source of spectacle since the
beginnings of film. The program will include Ruhl's recent short film,
How Mata Hari Lost Her Head and Found Her Body as well as shorts by
contemporary experimental filmmakers, Kerrie Welsh and Amy Greenfield.
About the film: How Mata Hari Lost Her Head and Found Her Body is an
imaginary biography of a real historical figure: the erotic dancer and
courtesan executed by firing squad for double espionage in World War I.
Reinventing the archetypal femme fatale according to her corporeal
afterlife- Hari was decapitated after her execution, her body donated to
anatomical study and her head displayed at the Musee d'Anatomie- Ruhl
imagines her as a striptease artist whose ability to remove her head
takes Belle Époque Paris by storm. Using Oscar Wilde's Salome as a site
for narrative and historical interaction, the film draws upon the
cultural phenomenon of "Salomania" among largely lesbian and bisexual
female performers in order to engage with an era when Orientalism sold,
scandal became success, and deviant desires equalled a crime punishable
by death. Also Showing: Peter, Peter… by Kerrie Welsh, 16mm color sync
sound. 7 minutes, 2002 A dark retelling of the children's rhyme "Peter,
Peter, Pumpkin Eater," illustrates the disparity between the narratives
we construct and the realities they represent. Wildfire by Amy
Greenfield, 12 minutes, 2003, digital projection The final film in
Greenfield's acclaimed Club Midnight film cycle depicts women "clothed"
in electronically generated flaming colors, reincarnating Thomas
Edison's 1894 hand-tinted film, Annabelle Dances.
5/7
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St., Los Angeles, CA 90012
CINE POVERA- MEXICAN EXPERIMENTS IN 16MM
As an echo to the Arte Povera movement, Cine Povera showcases work from
Mexico by filmmakers who persist in working in 16mm with the most modest
resources. Using antiquated techniques to produce emphatically
anti-corporate and insistently artisanal cinema, the artists address
social and political concerns—from the recent upheavals in Oaxaca to the
gentrification of urban neighborhoods. Not consumed with the medium's
illusions, this eclectic selection of handcrafted shorts reveals the
passion, craft and ingenuity of artists who adhere to the ethos of
honest effort. The screening features young Mexican filmmakers Uriel
Lopez España, Txema Novelo, Hanne Jimenez, Rosario Sotelo, Mayra Isabel
Cespedes Vaca, Elena Pardo, Andres García Franco, Jorge Lorenzo Flores
Garza and Bruno Varel, alongside artists who have made work in Mexico,
including Naomi Uman, Robert Fenz, Rocio Aranda de la Figuera and Erika
Loic. In person: Curator Jesse Lerner. Jack H. Skirball Screening Series
/ Tickets $10 [students $8, CalArts $5]
5/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
DANNY LYON PROGRAM
See notes for May 6, 7:30 pm.
5/7
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8pm, Gladstone Hotel, Art Bar, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #39 = NICKY HAMLYN IN PERSON!
We're pleased to host a screening of rare films by UK filmmaker Nicky
Hamlyn. His work looks at the relationship between the camera and the
elements being filmed—object, reflection, colour, light,
shadow—resulting in a rigorous reflection on the act of filming itself.
The films have a hard-won beauty, but open themselves up to our
appreciation through patient observation. This screening focuses on two
of his sound films—That Has Been and Tobacco Shed—plus the stunning
White Light. "That Has Been is the last in a series of longer works made
in the first half of the 1980s. The film was shot in two adjacent rooms.
Outside views are seen in reflection via an aluminum photographic lamp,
while some of the imagery is generated from photographs taken in the
same spaces. The occasional voice over explores the relationship between
places and dreams and that between memories and the physical events that
can trigger them." (Hamlyn) White Light, made a few years after the
short film Minutiae initiated a stylistic epiphany, also focuses on
reflections—this time in the chrome-plated faucets of his studio sink.
The faucets are shot frame-by-frame while the focus is racked back and
forth, creating a shimmering rhythmic experience. The film's animated
quality is further enhanced by rotoscoped sequences (photographic images
traced by hand). These animations deepen the enquiry into the abstract
and the photographic and into the way that illusions create visual
forms. Tobacco Shed is shot at a tobacco-curing oven in northwest
Umbria, Italy. It uses the serial nature of the building (a series of
open bays) to construct the film—circling the building and framing each
doorway in a consistent manner. This simple set-up allows for the small
differences (an open doorway, a car parked askew) and character of the
building—soon to be transformed due to changing agricultural
priorities—to come through. Programme: That Has Been, 1984, 16mm, UK, 40
min. White Light, 1996, 16mm, UK, 22 min. silent Tobacco Shed, 2010,
16mm, UK, 11 min.
--------------------
TUESDAY, MAY 8, 2012
--------------------
5/8
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
6:30, 155 Freeman Street
SCOTT BARTLETT'S OFFON + KINJI FUKASAKU'S THE GREEN SLIME
OffOn, Scott Bartlett, 16mm, 1967, 9 mins - The Green Slime, Kinji
Fukasaku, 16mm, 1968, 90 mins - Genre-hopping auteur Kinji Fukasaku is
best remembered for action pictures served up with cutting social
critique, like his yakuza cycle Battles Without Honor and Humanity and
his final film, the teen bloodbath Battle Royale. In the late 1960s,
however, he directed The Green Slime, an ultra-groovy sci-fi monster
movie about astronauts battling a polymorphous alien fungus that
threatens Earth. Produced by MGM and shot at Toei Studios in Japan, the
film was made in English with mostly American actors (including a cast
of extras culled from local US military bases), but maintains a
distinctly kaiju visual style, complete with candy-colored animated
miniatures and freaky rubber-suited creatures. Italian bombshell Luciana
Pallucci (previously a James Bond villainess in Thunderball) plays a
cat-suited space-nurse who helps defend the starbase, and the whole
affair kicks off with a blazing psych-rock theme song. - The Green Slime
is paired with Scott Bartlett's OffOn, a lysergic journey into deepest
inner space made in San Francisco during the height of the Aquarian Age.
As Amos Vogel describes it: "One of the most important attempts so far
to express the new sensibility directly and poetically, in a perfect,
magical fusion of non-verbal communication and advanced technological
filmmaking (video-manipulation, multiple exposures and printing,
solarization and synthetic color). Indeterminacy, the union of
opposites, the cosmic, the expansion of consciousness, the going beyond
rationalism\; all these are intimated purely visually, almost
subliminallyâ€"to those willing to see." - Tickets - $7, available at
door. - Please note: seating is limited. First-come, first-served. Box
office opens at 7pm. - Print of The Green Slime courtesy of the Cosmic
Hex Archive.
----------------------
THURSDAY, MAY 10, 2012
----------------------
5/10
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)
FILMS OF TOM CHOMONT
A screening of recently preserved 16mm films by the late Tom Chomont.
This rare screening of films brings the work of this artist back to Los
Angeles. Filmmaker Jim Hubbard writes: "Chomont's films offer a lyric
depiction of the ordinary world, but at the same time reveal an
unabashedly spiritual and sexualized parallel universe. His incomparable
technique of offsetting color positive and high contrast black-and-white
negative creates a subtly beautiful, otherworldly aura." Fearless and
tender, Chomont is a film alchemist, bringing a unique and ravishing
vision to the screen. Preceded by a short program of other films, some
old, some new, to be announced. 16mm Chomont program includes:
Ophelia/The Cat Lady (1969), Love Objects (1971, Holland), The Mirror
Garden (1967), Epilogue/Siam (1969), Jabbok (1967), Phases of the Moon
(1968), Oblivion (1969). Guest curator Kate Brown. Screening made
possible by UCLA Film & Television Archive and The Outfest Legacy
Project for LGBT Film Preservation and through the Avant-Garde Master
Program funded by The Film Foundation and administered by the National
Film Preservation Foundation. 16mm preservation print courtesy of the
UCLA Film & Television Archive. Preservation funded by The Film
Foundation.
5/10
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00 PM, <B>SAN FRANCISCO MUSEUM OF MODERN ART</B>; 151 Third Street (between Mission and Howard Streets)
SECONDS OF ETERNITY IV: THE FILMS OF GREGORY J. MARKOPOULOS GALAXIE
presented in association with Pacific Film Archive and the San Francisco
Museum of Modern Art [members: $7 / non-members: $10] In March and April
of 1966, Markopoulos created Galaxie, an unparalleled work of cinematic
portraiture, documenting writers and artists from his New York circle,
including Parker Tyler, W.H. Auden, Jasper Johns, Susan Sontag, Storm De
Hirsch, Jonas Mekas, Allen Ginsberg and George and Mike Kuchar, most
filmed in their homes or studios. Filmed in vibrant color, Galaxie
presents an encyclopedic elaboration of the single-frame photography and
complex superimpositions found in Ming Green, Through a Lens Brightly
and other works and stands as a vibrant response to Andy Warhol's
contemporary series of black–and-white machine-eyed Screen Tests. With
the portraits presented in the order created, the film affords its
viewer the opportunity to observe the rapid development of Markopoulos'
technique over the weeks of its creation. Indeed, Galaxie pulses with
life and stands as a masterpiece of in-camera composition, editing and
economy. (Steve Polta)
----------------------
SATURDAY, MAY 12, 2012
----------------------
5/12
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:00pm, Echo Park Film Center, 1200 N. Alvarado St. (at Sunset)
L.A. FILMFORUM PRESENTS MOVING PICTURES: PAINTING, PHOTOGRAPHY, FILM
Movies are made up of many still images, moving rapidly through a
projector. And they are among the two-dimensional pictorial arts, along
with painting and photography. And here's a show bringing these ideas
front and center, with lively deconstructions of movies into stills;
commentaries on the "death" of painting; explorations into the
possibility of making moving paintings; and intense explorations into
the meaning of still images in the creation of identity of a people.
Including films by many artists, often people who also work in paint:
John Baldessari, Renate Druks, Paul McCarthy, Sam Erenberg, Morgan
Fisher, Gary Beydler, and more! In person: Sam Erenberg (schedule
permitting) Tickets: $10 general, $6 students/seniors, free for
Filmforum members - available online at Brown Paper Tickets Screening:
Production Stills (Morgan Fisher, 1970), Pasadena Freeway Stills (Gary
Beydler, 1974), Walking Forward-Running Past (John Baldessari, 1971),
Abacus (Lyn Gerry & Estelle Kirsh, 1980), A Painter's Journal (Renate
Druks, 1967), The Last Statement of Painting I (Sam Erenberg, 1970), The
Last Statement of Painting II (Sam Erenberg, 1970), Painting Face Down -
White Line (Paul McCarthy, 1972), Whipping the Wall with Paint (Paul
McCarthy, 1975), Powers of Ten (Charles & Ray Eames, 1973), Medea (Ben
Caldwell, 1973), Chicana (Sylvia Morales, 1979)
5/12
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)
LOS ANGELES FILMFORUM PRESENTS MOVING PICTURES: PAINTING, PHOTOGRAPHY,
FILM
Part of Filmforum's series Alternative Projections: Experimental Film in
Los Angeles, 1945-1980. Movies are made up of many still images, moving
rapidly through a projector. And they are among the two-dimensional
pictorial arts, along with painting and photography. And here's a show
bringing these ideas front and center, with lively deconstructions of
movies into stills; commentaries on the "death" of painting;
explorations into the possibility of making moving paintings; and
intense explorations into the meaning of still images in the creation of
the identity of a people. Including films by many artists, often people
who also work in paint: John Baldessari, Paul McCarthy, Sam Erenberg,
Morgan Fisher, Gary Beydler, and more! Some in person. For full
information & Tickets, please visit
http://www.alternativeprojections.com/screening-series
5/12
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
OCCUPY CINEMA!
OC proudly participates in a national day of honoring, through motion
pictures, the ideas and actions of the worldwide Occupy movement. This
2-hr. program proffers a plethora of testimonials, docs and agit-prop,
all short-form works that illuminate the many facets of the 99%
movement. Among the in-person pieces are David Martinez' Autumn Sun: The
Story of Occupy Oakland, Michael Goodier/Jane Martin's Occupy Telephone,
Molly Hankwitz' Pike Loop, Carla Leshne's Howard Zinn interview, and
Julie Wyman's UCD crowd-sourced project. ALSO: Updates from Caitlin
Manning and others, with tentative contributions from Martha Colburn,
Jem Cohen, Les Leveque, Mike Kavanagh, and Black Hole. Come early for
veggie BBQ on the street! $7 donation (no one turned away); portion of
proceeds to OccupySF.
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker:
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